Original styling model: Abel Guinebault Choreography: Laure Daugé
Approach and creation The clothes a person wears.
In the beginning, there was the fabric. Before the catwalks and windows, material, first inspiration, offers its possibilities. Crude substance, poetic stylist through dance, physical expression. Charm of garment making. In the final step of the parade, the approach of the designer has disappeared: the flamboyance of the models presented, haloed light eclipse the premises. The result alone perceives. Folds, flat volumes, movement tell the story between the creator and the object. Body tissue and interrelated, partners, gestural constraint by one by the other. We admire some photos sumptuous magazines. The colors will be affirmed, the mesh assagies, folds studied, treated reflections: the relationship to the raw material is foreign to clichés. Awakening shapes, bellows, draped - a collar, sleeve, almost no seams - patron and dancer interact, play in a pas de deux iconoclast. Here the canvas boss is no longer bound to the shade of workshops, molded around a mannequin, if directed by the dancer, his game, his metamorphosis. Through the web, times, characters, fiction.
Abel Guinebault The painting shows the various stages of manufacture, from the raw material - cloth roll - until finished garment and worn. Product is also progressively: a seam passes through the tissue, creates a blister, a movement, and a volume that results in the formation of a sleeve. The tailored collar emerges from the fabric by cutting back. Built-up area of each flat comes with no seam does not interrupt the progress of its implementation in volume. It was initially the vision of the canvas hung: the physical presence just exaggerate the seam until the experimental part built, reflect, interact and subject matter, a link is established between the technique of making clothing and the impulse of creation danced. Once detached and worn all unbuilt area falls free. From the moment the wire joins the body the method of manufacture is completed, enabling the realization of a product. Begins the work of choreography.
Laure Daugé I often work with musicians or actors "live" together we find a common language that we can understand ourselves through our specialties. Here, it is the meeting between the world of fashion and the performing arts. It is also, for me, a living process "backwards", which predates the suit and is seeking his interpreter. During the first sessions of improvisation, I realized that this project required a specific design movement: the presence of the primary fabric, outlined his side, the constant change of form follows and uses both aware that the unconscious (the current mode and modes past; styles here and elsewhere, the function of the garment over time...), and at the same time contact with him, much bigger than me... I had to install a special code, a movement between appearance and my attitude, work mid - mid suspension of time, I became more puppet in the hands of the creator and found myself less personally involved in the performance. I usually use quite late in the mirror or video during the development of a piece: firstly, it reduces my imaginary contour still sparsely populated interior of authentic sensations. When the drop is sufficient that the perspective on work is cool enough to be objective and constructive criticism holder, then it can be beneficial, but most of the time - especially if I am alone to evolve - I still prefer the look living with a partner you can trust, a "third eye" which, without "pass" will comment sensitivity. In this creation, however, having no idea of rendering manipulations as I belong to the whole wide web, am absorbed by it, I immediately felt the need to find pictures "thread". Then I realized that if I moved a lot, dance parasitized reading about tired and attention. I had to give the fabric its place as a key player and channeling of dance, dosing, as if the project had need of a dancer, but not necessarily his dance! My body is bent driven to the canvas, I act actress and dancer: such statements are based, these techniques blur into one presence, kind of entity - chameleon. My concentration is also suitable: I tamed the subject with him to write the "seams" sequences.
Abel Guinebault From a young age, Abel Guinebault is driven by the idea to fashion his job. Passionate about sewing and drawing, between fifteen to vocational school to learn dressmaking tailor. He continued his training in the workshop Chardon Savard where he has the opportunity to put his ideas into practice sewing Experimental to take shape, a creative impulse must, in his view, be based on know-how. Keen cutting Guinebault Abel made his debut in the workshops of Martin Margiela, Balenciaga and Ungaro. Today in Prototextile designer, he also realizes "in independent" models for Guy Laroche, and continued his research personal creation.
Laure Daugé Graduated from the Conservatoire National Supérieur de Danse de Paris where she was greatly influenced by the philosophy of work Wilfride Piollet, Daugé Laure decides to extend its repertoire from classical to contemporary. It occurs in several international companies (Ballet of Zaragoza, Co. Preljocaj Ballet du Nord...). To expand its field of expression and understanding of the performing arts she trained in Dramatic Art. She founded LDanse Association, whose president, Jean Guizerix, choreography for her La Vega (March 2007). Since 2002, she created each year in Paris a show with his company. In 2008, she did a six-month residency in Montreal with his partner cellist Ingrid Schoenlaub. In February 2009 she participated in the series of lectures given by Wilfride Piollet danced during Hivernales Avignon and is then invited by Toos Foundation to perform in London and the Conservatoire National de Lugo in Spain to give an internship the teaching team. She attends John Guizerix in 2010 staging and choreography Histoire du Soldat in 2011 to track the implementation of Pierrot Lunaire, and occurs at the Paris Opera in The Marriage of Figaro. His latest creation, Crossing, is a journey through the history of Western dance from baroque to contemporary.