I first worked with a designer on a show in 2003, with Cloak's Spring 2004 collection. I now work with Robert Geller, Patrik Ervell,  and Nanette Lepore.  I've also worked with Obedient Sons and Daughters, Thom Browne, Doo-Ri and Rachel Comey, among others. I've been collaborating on music with Maria Cornejo since her Cooper-Hewitt Design Awards show for Spring '07. What initially started as DJing and throwing in the odd loop-treatment evolved into a more involved, mini-album project of sorts.

Scott's set for Zero Maria Cornejo Spring 2009

Increasingly, iTunes proved useless as a source of music for Maria's shows. I began to dip into edits and other music originally intended for use on forthcoming album releases. Though I was reluctant to use them, the fit was too good to resist. This season, Maria's show was divided into four elements: White noise, wood, grass, and water. The white noise print featured a soundwave-like pattern, while the wood, grass, and water were custom prints of an aged woodgrain from a lakeside dock, tall grass, and beachside seafoam, respectively. As usual, Maria's designs were at once edgy and balanced. Forward thinking and feminine, they also have a strong, earthy quality.

Carlo from Zero supplied the jumping-off points: Ominous-sounding child voices from the anime epic Akira-One and polyrhythmic gamelan sounds. Serendipitously, I had some beat constructions made with kettle drum and gamelan-like music. I wove them together and, during the show, added some additional dense textures that took over the beat like some kind of high-powered, biodynamic kudzu. As Maria said in a recent interview, "[Nature] is the stronger force."