ALAINPAUL SS25 [ IMPRO ] скачать в хорошем качестве

ALAINPAUL SS25 [ IMPRO ]

SHOW 3 - SPRING / SUMMER 2025 [ IMPRO ] THÉÂTRE DU CHÂTELET Illuminated by the early light beaming through the windows, a dancer’s morning class takes place in the optical white surroundings of the rehearsal studio. In this laboratory, experiments of body awareness and improvisation unfold. For Spring-Summer 2025, Alain Paul explores the instinctive relationship between dancer and movement. In expressions imbued with the gestures inherent to the domain of the morning class, garments are pulled, stretched sideways, elongated and compressed. Freeze-framed from these extractions and extensions, skewed forms interact with gravity in the definition of a silhouette expressed in the fluidity and grace of motion. A focus on fuseaux – ballet tights that attach to the sole with an elastic band – informs the construction of outerwear, tailoring, shirts, dresses and skirts stretched around the foot. The structures create a suspended silhouette that extends the physique and follows the movement of the wearer. Garments crafted through flat pattern-cutting trace the elongation and pulling of clothes to one side of the body – imitating a dancer’s extension of the arm or leg – creating a considerably asymmetrical shape. Applied to the brand’s signature justaucorps as well as t-shirts, shirts, trousers, dresses and skirts, the disproportionate forms collapse and drape along the physique, expanding the body’s movement. A contrast to the amplification of motion, compressed tops and t-shirts in tulle create a fixation of the body beneath their translucent surfaces. The idea evolves in a top, pencil skirt and dress crafted in crin, which generates a shell-like see-through stiffness around the physique. The feeling is invoked in transparent nylon knitwear sculpted with bascule shoulders sans necklines. Denim pieces are shrunken to achieve a sensibility similar to justaucorps. Tailoring postured with the brand’s arched shoulder further draws on the idea of fixation with straps that hold an unbuttoned jacket in place and nip the silhouette. A juxtaposing sense of freedom is reflected in tailored shorts and sleeveless blazers. Contrasting compositions created in black and white take inspiration from the costumes of Beach Birds, the 1991 ballet by Merce Cunningham whose choreography serves as a continual influence for Alain Paul. In his creative process, the American dancer embraced notions of spontaneity and improvisation and defied the preordained rules of traditional choreography. The approach takes physical form in prints informed by the aereal sketches Cunningham would draw for his choreography. Additionally, tops, skirts and dresses fully embroidered from tights pay homage to his affinity for legwork in accumulations that evoke the impression of le corps de ballet moving in synchronisation. Bags crafted in leather draw on the language of knee and elbow protectors. Wrapped around the arm, the pochettes become an extension of the physique. Shoes created in soft lambskin take inspiration from the ballerinas of contemporary dance and materialise as the Merce Sling-back and the Merce Ballerina. Finally, the Pina Point Shoe – which evokes the toe of ballet slippers and gives the illusion of the foot bone deformation familiar to dancers – re-emerges as the Pina Mule, inspired by codes native to the rehearsal studio. Written by Anders Christian Madsen Video @thomasdecruzmedia Makeup @christinecorbel Hair @annacofone using @oliviagarden_eu Casting @jesuiscasting Music @sen_studio Music by Mikael Karlsson from the score to Alexander Ekman’s “Tyll” Voices @ekman @mika_Karlsson Press @karlaotto Production @experiential.h Light Design @hydradesign__ Nails @cecilia.abbas_ Olfactive universe @lelabofragrances @kohlerparis