HOW THE BODY INHABITS THE WORLD
Paris, October 2026
In the centre of the stage, a group of dancers perform as if in an ecstatic rave, whilst the models weave their way through and around them, before finally joining in. In this collective movement that claims the need to move together, the ALAINPAUL’s SS27 collection appears through fabrics, structures and forms that once again assert both the meaningful DNA and technical expertise of the brand. From behind the scenes to the show itself, a strong energy radiates, transforming it into a true performance – a moment of collective synergy that resonates far beyond the world of fashion. After witnessing and documenting this event, we look back with the designer at the themes of the collection, its foundations and the enduring influences of dance.
What is the central theme of this latest collection?
This collection, entitled THE SCENE, grew out of a reflection on dance outside its institutional framework. I was drawn to underground dance cultures, where movement becomes more instinctive, free and collective. The starting point was the image of a dancer leaving the stage after a performance to head to a rave, whilst still wearing certain elements of their costume or rehearsal outfit. What interested me was the dialogue between these two seemingly opposing worlds: on one hand, the rigour, discipline and technique of classical or contemporary dance; on the other hand, the freedom of movement, spontaneity and collective energy of the rave. But this relationship works both ways. Underground cultures have also inspired the work of many contemporary choreographers, who have reinterpreted these free, collective movements to bring them back onto the stage. The collection explores this interplay between two bodily languages, between discipline and abandonment, between the institutional scene and the underground scene.
Do you see a link with certain issues in today’s society?
Yes, particularly around the notion of collective and individual freedom. We live in a society where everything is increasingly codified, observed, commented on, and sometimes even controlled. I find it interesting to reflect on those spaces where the body can still express itself freely, without judgement, hierarchy and without necessarily seeking to produce anything. We don’t need to speak the same language, share the same background or have the same training to dance together. It’s also a way of exploring our current need for community, freedom and physical connection in an increasingly digital world.
Do you believe fashion should convey a political message today?
I think fashion is a reflection of its time, but it doesn’t always need to convey an explicit political message. I believe it cannot be completely disconnected from the society in which it exists. It must uphold fundamental values such as diversity, inclusion and freedom of expression, whilst remaining a space for creativity and imagination. In an increasingly complex world, I firmly believe in the role of art and fashion in inspiring us to dream, provoking emotions and offering alternative perspectives on our society. Preserving creativity, craftsmanship, and this artistic freedom is, for me, already a form of commitment.
Where does the close connection you have with dance come from?
Dance has been part of my identity since childhood. I began training professionally in classical and contemporary dance at a very young age at the École Nationale Supérieure de Danse de Marseille. I turned to fashion at 18, but my first creative experiences took place in the dance studios, where I began by designing costumes, repurposing vintage or upcycled garments, and putting together looks for various choreographies. Today, dance is part of ALAINPAUL’s DNA, almost like the brand’s subconscious. I draw inspiration as much from the dancer’s wardrobe – their uniforms, warm-up and rehearsal outfits – as from the very principles of dance: discipline, posture, rigour and the relationship between the body and space.
How do you approach clothing in relation to movement?
I always start with the idea of building a wardrobe, with some highly structured pieces and others that are more deconstructed. I like to work with tailoring, denim or leather to give the body poise, stature and a certain presence. Conversely, I might take a shirt and constrain it with an elastic band, reposition a collar or deconstruct an element to create a gesture. In this latest collection, for example, we’ve developed dresses where you can adjust the draping with drawstrings, or tailored jackets whose construction creates tension between the front and back of the body. I also like to reinterpret sportswear codes and incorporate them into more formal pieces, such as skirts or dresses, whilst maintaining genuine freedom of movement. What interests me is that a garment can sometimes accompany the body, and at other times, conversely, impose a posture on it or suggest a movement, even when one is stationary.
Are there any choreographers or dancers you’d like to collaborate with?
There are plenty! I’m particularly interested in choreographers who develop a highly personal language and who explore the boundaries between dance, performance, music and the visual arts. I admire the work of Anne Teresa De Keersmaeker, Hofesh Shechter, Damien Jalet, Sharon Eyal and the (LA)Horde collective. What fascinates me about these collaborations is the opportunity to create a genuine dialogue between two disciplines. I don’t simply want to design costumes for a performance, but to reflect on how clothing and movement can enrich one another. I’d like to continue developing projects in which fashion and choreography work together to create a piece.
Speaking of collaboration, you’re often seen with your partner, Luís. How do you work together, and what is the strength of your partnership in developing the brand?
Luís and I have quite complementary skills, but above all we share a common vision of what we want to build with ALAINPAUL. I focus mainly on artistic direction, the collections and the brand image, whilst Luís oversees the brand’s commercial and strategic development. But the boundaries aren’t entirely fixed. We discuss things at length, we make the big decisions together, and there’s a real trust in each other’s judgement. I think our strength also comes from the fact that we’re building this project for the long term. We’re not simply looking to develop a brand season after season, but to create a fashion house with its own identity, culture and vocabulary.
I attended this last fashion show; it was a real performance! How did you feel when it started?
It was an incredibly powerful moment, because that fashion show represented several months of research and collective effort. There’s always a certain amount of tension before a show, all the more so when you’re incorporating a live performance. You can anticipate a lot of things, but there’s always an element of the unpredictable, and that’s precisely what makes the experience so interesting. Seeing the clothes come to life on the models’ bodies, the choreography unfold in the space, the music and the dancers’ energy come together – it was quite moving. I particularly loved the moment when the boundary between the fashion show and the performance began to blur. The show was no longer simply about presenting a succession of silhouettes, but about creating a shared experience. That’s what I’m increasingly seeking: to create a moment that can exist beyond the clothes themselves.
Do you already have any idea what the theme or guiding principle of the next collection will be?
Yes, I’ve already started thinking about what comes next, but I prefer to let these explorations develop before giving them too specific a direction. What interests me at the moment is continuing to enrich the ALAINPAUL vocabulary. I don’t see each collection as a completely separate new chapter, but rather as a continuation, a way of deepening a language that we’re building season after season.
Dance and performance will always remain at the heart of our approach, whether through a collaboration, a performance presented during a fashion show, or simply an exploration of the body and movement. I find myself wondering more and more about what fashion can contribute to contemporary culture. In a system where everything is accelerating, where images and collections follow one another at a remarkable pace, what room is left for reflection, experimentation and artistic expression? I would like ALAINPAUL to continue exploring this boundary between clothing, performance and artistic creation.
Generally speaking, where do you continue to draw inspiration from?
I draw a great deal of inspiration from dance, of course, but also from contemporary art, music, cinema, architecture and everyday gestures. I am particularly drawn to artists who develop a personal, sometimes radical, style, yet who remain capable of conveying a very direct emotion. I’m also very interested in archives, craftsmanship and the way in which traditional techniques can be reinterpreted in a contemporary context. My experience with the Paris Opera, for example, allowed me to discover costume construction techniques that we subsequently translated into our own vocabulary. But inspiration can also come from very simple things: a posture, a way of wearing a garment, an involuntary gesture, an attitude on the street. I believe that what interests me above all is observing how the body inhabits the world.
Photography & Interview by Hanna Pallot