On the 2024 Maison Margiela Couture presentation in Paris, haunting, tragic figures traipsed the runway like gothic, damaged dolls. They jutted their hips in ways in which appeared stilted, like child deer studying to stroll, whereas their arms hovered elegantly, undulating like swan wings. They have been dressed by the inimitable dressmaker John Galliano, however it was Polish-born artistic motion director Pat Boguslawski who masterminded the way in which fashions walked the runway, teaching and cajoling each into the function of a stage actor. I wasn’t alone find the runway spellbinding. The video went viral.
Whereas a choreographer dictates a sequence of actions for dance (and sometimes works with skilled dancers), a artistic motion director formulates a library of actions, gestures, expressions, character traits and narratives that inform how a mannequin, actress or performer brings a imaginative and prescient to life. Maybe the director demonstrates actions, or they counsel imaginary eventualities, or they supply pictures or textual content as motivation. L.A.-based Dalel Bacre might ask her topics to imitate the convenience and agility of a wild cat; in Paris-based Boguslawski’s case, he prompted fashions to play characters as if in a theatrical manufacturing.
Boguslawski refers back to the epic, flamboyant Nineteen Nineties style exhibits as inspirational. The revered L.A.-based artistic motion director Stephen Galloway additionally cites this period. The runways of Alexander McQueen, Vivienne Westwood, Versace, Tom Ford and John Galliano weren’t merely po-faced fashions stalking a runway however full theatrical, momentous occasions.
Galloway is usually cited as the one who helped pioneer artistic motion course. After 20 years as a principal dancer with Ballet Frankfurt, he prolonged his imaginative and prescient to costume design and went on to affix Issey Miyake as artistic director between 1993 and 1997. Throughout that point, Mick Jagger reached out to Galloway for steerage on making a stage persona mixing excessive style with theatricality. For practically 30 years, Galloway has been the artistic motion director for the Rolling Stones and has utilized his experience to runways as numerous as Versace, Gucci and Yves Saint Laurent. Galloway’s restlessness — he’s in Paris, L.A., New York, Berlin — and his numerous portfolio of labor is enviable: dance, media, music and runways. “I’m part of the team as much as the photographer, and the stylist. So, we’re having that conversation together,” he explains.
I spoke with 5 artistic motion administrators who exemplify the various, even contrasting, methods to satisfy this function wherever, with anybody. They’ve shared the tales behind a few of their most prized initiatives.
Stephen Galloway 
Saint Laurent, 2018, Spring / Summer season; Expertise: Anja Rubik; Stylist: Alastair McKimm; Hair: Shay Ashual; Make-up: Kanako Takase; Manicurist: Deborah Lippmann; Lighting: Jodokus Driessen Artistic/ArtDirector: Anthony Vaccarello; Motion Director: Stephen Galloway
(Inez & Vinoodh)
I didn’t begin out to create this job. I began out of necessity and out of curiosity. It’s at all times felt extraordinarily natural, and I nonetheless really feel like I’m doing it for the primary time. When folks wish to know what the method is, there is no such thing as a course of. The method is expertise, and that retains me enthusiastic about the entire thing. I’m a serial Pisces. I’m a serial collaborator — the work by no means stops.
I do a whole lot of preparation into what the general artistic is. The distinction between a motion director and my function as a artistic motion director is that I’m introduced in on the very, very starting the place the precise artistic [direction] is being shaped. So I’ve a whole lot of direct enter.
I lately began an organization known as the Motion Artistic, which is able to signify artistic motion administrators world wide, sort of educated within the “Galloway technique.” I can’t do each job, as a lot as I wish to. So it’s nice as a result of now I’ve a beautiful group of artists who the world will slowly get to know. I loosely, jokingly say “the Galloway technique of creative movement direction,” however it actually is a construction which is folk-based and targeted on that Lee Strasberg college of performing. Whenever you stroll onto a set, you’re getting into a world and it’s a must to learn the room. Somebody lately referred to me as a “social mathematician” — I giggled, however then I assumed it was really a real evaluation. Strolling onto a set of 40 folks I’ve by no means met in individual earlier than, while you’re there to create that magic, it’s a must to assess that power and pull it along with folks of assorted expertise ranges. I’m that connection between the consumer, the photographer or director, the stylist, the hair and make-up group.
Vogue Paris, December 2011; Expertise: Sky Ferreira; Motion Director: Stephen Galloway
(Inez & Vinoodh)
Vogue Paris, August 2009; Expertise: Bryan Ferry, Jessica Miller; Motion Director: Stephen Galloway
(Inez & Vinoodh)
It helps when you perceive the physique coming from dance. But it surely’s not a necessity. A few of my favourite jobs are the place you don’t even know that I used to be there. It’s not about me being on set and having them do, like, an enormous dance place. The Tom Ford venture was one thing particular as a result of Tom wished that, however when you have a look at the Loewe job, it’s one thing fully totally different. When you have a look at the Benicio del Toro portraits that I did with Jamie Lee Curtis, it capabilities on a special stage of communication — by means of the picture, by means of the artist, by means of the expertise. Artistic motion course doesn’t should do with dance.
“Someone recently referred to me as a “social mathematician” — I giggled, however then I assumed it was really a real evaluation.”
— Stephen Galloway
Once I work with actors on jobs, on the decision sheet earlier than the primary day of labor, the manufacturing firm will generally write “Stephen Galloway, choreographer,” and we’ll get 10 calls from the expertise’s supervisor and publicist saying, “What do you mean, a choreographer?” There’s a whole lot of energy in these phrases, and it’s vital that individuals perceive that moving into, as a result of an actor likes to arrange. Nobody needs to be shocked on set. Generally the people who find themselves making the manufacturing groups don’t know the distinction themselves — they simply assume, “Oh, we got this guy who’s going to help her pose.” It’s much more than that. It’s not about simply making somebody pose. It’s about serving to somebody talk. And for that, that requires time, expertise and understanding.
Zoe Rappaport 
Left: “Synthesis” for Schön! Switzerland. Artistic Director: Alex Palomo; Motion Director: Zoe Rappaport; Stylist: Nathan Candy; VFX Studio: Volvox Labs; Editor-at-large: Odie Senesh. Proper: Assembly “Kuka” the robotic digicam to discover motion prospects in preparation for the Schön! editorial Volvox Labs, Brooklyn NY. (Julia Comita)
I danced all my life, even within the womb. My mother performed Zen chanting music by means of headphones on her stomach when she was pregnant with me. After dancing all by means of college, I began choreographing once I was dwelling in New York from 2007 to 2014. Brooklyn, round 2010, was actually interdisciplinary and there was a whole lot of experimentation, and I used to be starting to discover artistic motion course earlier than I had a time period for it. I’d begun working with buddies of mine throughout all creative disciplines, so my motion language is numerous — hip-hop, trendy jazz, blues, new model hustle.
Once I moved to L.A. in 2015, I used to be choreographing for myself and others, however after my aunt, who runs a significant images company, launched me to the work of Stephen Galloway, I acknowledged that this was a job I may do, and Stephen was the blueprint. I started working with magazines like Love, and on campaigns for Estée Lauder, as a artistic motion director.
This editorial, “Synthesis” for Schon! journal, started as an thought from the photographer Julia Comita, whom I collaborated with alongside artistic director Alex Palomo and Volvox Labs in New York. It started as a dialog and resulted in futuristic, apocalyptic visuals and video work.
Julia and I met on Instagram as a result of we have been followers of one another’s work. She informed me this concept of working with these robotic cameras and otherwise limbed fashions. “Synthesis” is about people and know-how coming collectively to create unity and wonder, reasonably than man-versus-machine. We actually felt that limb-different people with prosthetics have been dwelling with know-how for much longer than able-bodied folks have been, and we have now loads to study from them. My job is loads about ensuring expertise feels protected, snug, supported, and for them to essentially be capable to present up of their full selves and be expressive.
“My job is a lot about making sure talent feels safe, comfortable, supported, and for them to really be able to show up in their full selves and be expressive.”
— Zoe Rappaport
Once I noticed the robotic digicam, I acquired proper onto the robotic and started climbing it, exploring what was doable. We wished the robotic and the fashions to be built-in. We had a deck of particular pictures that Julia and Alex have been going for: pictures of people and machines coming collectively. The style was elementary too — I can’t do a lot till I do know what fashions are sporting. In the event that they’re in a pencil skirt, we’re not doing loopy leg motion. Material and minimize actually dictate what poses are doable.
The stylist on this had so many items. One picture options these large, oversize petals which might be versatile. Kelly [Knox] wore it, and there was a whole lot of enjoying with this wearable artwork, or Kiara [Marshall] wore this gown the other way up, which seems virtually like a sea urchin. The duvet photograph is one in every of my favorites, and that exhibits Kiara rising from the mechanical robotic arm with these wild, plasticated gloves. It was elementary to verify Kiara and Kelly felt snug, and figuring out the logistics of working with folks and the robotic to make all of it work.
Pat Boguslawski 
Maison Margiela Spring/Summer season 24 Haute Couture runway present. Motion director: Pat Boguslawski; Mannequin: Yilan Hua
(Britt Lloyd)
I met John Galliano after I despatched a DM to his husband, Alexis Roche, and mentioned, “I want to work with you guys some time.” Alexis was working as picture director at Margiela on the time. He mentioned we should always have a espresso in Paris, which is the place I confirmed him my portfolio. I acquired a name a couple of days later that John wished to satisfy me. I used to be so nervous! Once I began doing artistic motion course, my purpose was to work with John Galliano, and three years later, I used to be doing it.
As a toddler in Warsaw, I used to observe Trend TV. The drama, the enjoyable, the creativity! I knew I wished to be part of it, however I didn’t know what I wished to be. Even in my job now, I wish to have enjoyable, and style is meant to have enjoyable.
I began dancing accidentally as a result of my buddy wished to take a dance class, so I went alongside, and inside two lessons I used to be hooked. Whereas learning dance, I went to London a yr later, adopted by Los Angeles, however I used to be becoming bored of dancing by that time. Once I was 21, I took day off dance and went again to Poland, the place I began modeling, which led me to performing, which I studied for 3 years. Then I moved to London, and I used to be working as a artistic assistant, which is the place I spotted I wished to work in style as a motion director as a result of style was so stiff, so boring — I wished to alter issues.
After John known as me to Paris, I went to the Margiela places of work. John had this particular room the place he stored all his inspirations: partitions lined by pictures, work, hair and make-up inspirations, every thing he’d collected for years. There was a mannequin of the runway within the heart.
Maison Margiela Spring/Summer season 24 Haute Couture runway present. Motion director: Pat Boguslawski. Fashions: Clockwise from left, Lulu Tenney, Leon Dame, Nyaduola Gabriel, Dugyeong Kim (Britt Lloyd)
I don’t choreograph, actually — it’s very natural. I create characters for every mannequin based mostly on tales I’ve made up. We labored from 9 a.m. to 1 a.m. over seven days straight. Every mannequin has a special character. John has requested me what I inform them, however it’s a secret.
With Gwendoline [Christie], it was simple as a result of she’s such an excellent actress, so she will get it, she sees it. Generally I present the fashions what I imply if I really feel like my notes should not sufficient, and I’ll present them transfer, stroll.
Once I’m working with John, I’m with him from the start and the fittings, so we have now all this time to verify we are able to construct a present. It’s just like the theater. It truly is a present.
The second that actually acquired me in the course of the present was the response of the folks there. You’re working with a lot adrenaline and we’re doing one thing that we love and we’re pleased with, so that you’re not occupied with how folks will reply. As soon as the present was taking place, folks have been screaming. We have been like, “What just happened?” I’ve by no means skilled something prefer it. Anna Wintour got here backstage. She was overwhelmed, and she or he simply mentioned, “Amazing, amazing!”
I wasn’t watching the present. I used to be too busy speaking to the fashions, displaying them the poses, giving them characters, however afterward, I had to enter the hallway and have a cry.
Dalel Bacre 
“The Jewels of Miss X” photograph exhibition venture. Motion Director & Efficiency Artist: Dalel Bacre; Producer: CW Studio.
(Photographer & Editor: Christian Weber)
I used to be born in Mexico Metropolis, raised in Mexicali, and moved to Los Angeles full-time in 2016. My mother enrolled me in ballet once I was 4, and I used to be learning classical and modern lessons, dancing in several corporations in Mexico and Europe till I used to be 28. I’m nonetheless a performer with corporations and solo, along with being a artistic motion director. The transition occurred when my boyfriend on the time, a widely known style photographer, invited me to a photograph shoot in L.A. These celebrities have been shifting very awkwardly, and I used to be in a position to determine that it was how they held their hips or posed their fingers. Ultimately, [my boyfriend] mentioned, “You know what, get up and go tell that person what you were telling me!” So I went and did it and it labored very well. That was in 2016, and he informed me, “Oh man, you’re really good at that, performing and telling people what to do.” From there, he launched me to brokers in New York and L.A.
Ten years in the past, the function of artistic motion director wasn’t actually acknowledged, and the companies have been asking whether or not I used to be a choreographer. Quickly after that, the motion course as a profession title started to develop as a result of different folks have been doing it too, whether or not they known as themselves that or not. Nonetheless, the [agencies] took me on, and I started engaged on style campaigns, movies and movement seize for video video games like Lily Cowles’ character in “Call of Duty: Black Ops Cold War.”
“My role differs from one job to the next, so it might be reading a film script and picking up on ways a character moves that aren’t written in the script.”
— Dalel Bacre
I labored with Olivia Hamilton for the film “Babylon” for a few scenes. She shared the script with me, and after studying it, I got here up with the concept that her character may be limping, associated to her dependancy, proper? That’s what it’s about, how this individual will transfer. It could possibly be one thing quite simple, like, “Just close your hand when you’re taking the glass of wine,” to extra elaborate, subtle issues like, “You have a tic, one of your hips is higher than the other one.” Simply giving ideas that can make you progress otherwise.
My function differs from one job to the subsequent, so it may be studying a movie script and selecting up on methods a personality strikes that aren’t written within the script. Maybe that character was injured and had a limp, or in a online game, regardless that the actress is holding a pen, she has to carry it and transfer like she’s holding a knife.
What actually evokes me is the way in which animals transfer. They assume in 360 levels, and so they use all their power. They’re not losing time pondering, “I wish I was thinner, bigger, shorter” — they use all their capability of sight, scent, listening to and their bodily potential. Have you ever seen how a cat strikes? They’re actually current of their motion, they’re proper there.
Austin Goodwin 
Wiederhoeft Spring 2025 Prepared-to-Put on Assortment. Motion Director: Austin Goodwin.
(INDIGITAL)
I met [fashion designer] Jackson [Wiederhoeft] 5 years in the past by means of our companions on the time. Jackson requested me to assist motion direct their first assortment, and we’ve continued to work collectively since.
I used to be extra concerned [with the SS2025 runway show] as co-creative director with Jackson, so I used to be concerned in set design, lighting and the soundscape. That was great as a result of generally as a motion director, you’re introduced in at a later level and also you’re given the music or simply given parameters, which I do love, however [working with Jackson] gave me extra scope.
I’ll normally attempt to get a bit of music earlier than we start. I listened to a whole lot of kids’s choral music, and Jackson was very impressed by this extinct hen — the kauaʻi ʻōʻō — and one of many final recordings of its name. There was a whole lot of inspiration from hen calls when it comes to signaling issues, like a mating name or birds signaling an alarm or hazard. Though I don’t choreograph to the musicality, that soundscape provides me a lot help once I’m working. Jackson will come to the rehearsals. For the SS2025 present specifically, there was a gap scene after which a finale with 40 brides, which is fairly unbelievable.
Jackson would possibly come into rehearsal and provides suggestions like, “It needs to be more chaotic,” and we have now a terrific dialogue the place he says, “Can we try this?” and generally I push again if I really feel strongly a couple of second, and we discover a good stability. Loads of the fashions we work with for the runway are dancers. I’m serving to with casting now, and every time there are motion components, I forged performers from totally different backgrounds to get a pleasant combine.
We’re attempting to create an expertise for folks to see Jackson’s collections and really feel immersed from begin to end, which is typically lacking from the runway. I would like there to be a theatrical nature. Generally after we see the garment on the mannequin, we’ll discuss textures of motion, phrases that evoke the motion and moods. On the finish of the day, I would like fashions to have enjoyable and produce themselves totally to what we’re making.
Cat Woods is a contract journalist who has written extensively on music, books, display screen and visible arts. When she’s not writing, she’s instructing Pilates, and each require a ardour for storytelling, articulacy and pleasure in studying and group.
