Model Leon Dame’s severe and seductive strut at Maison Margiela was to Paris Fashion Week what Jennifer Lopez’s jungle dress was to Milan: a viral moment of unbridled fashion joy. And behind the walk that everyone’s talking about is movement director, Pat Boguslawski. “That wasn’t just a fashion show,” Boguslawski tells from Paris, “it was a .”
The fact that Dame’s stride (above) stole said show came as no surprise to Boguslawski. “I started laughing when John [Galliano] selected him to close because I knew it would be a thing, but I wasn’t expecting ,” he says of the viral sensation. “Seeing this kind of feedback is amazing and makes me so happy.”
Boguslawski is a man of many talents: a dancer-turned-model-turned-actor (and all before turning 30), the industry innovator is represented by global creative talent agency, Streeters. As a movement director, Boguslawski is able to fuse all of his passions into one unique role.
He’s worked with FKA Twigs, Victoria Beckham, Tilda Swinton and Kim Kardashian; orchestrated runway performances at Tomo Koizumi (below) and Maison Margiela (seven shows to date); and coordinated the flow for Tommy Hilfiger, Off-White, Versace, Issey Miyake, Fendi and Hugo Boss campaigns. And yet, his role remains something of an enigma.
Here, speaks to Boguslawski to find out how he makes his moves.
What does a movement director do? How is it different from what a choreographer does?
Pat Boguslawski: “As a movement director, I’m not making steps or crafting a choreography. I’m not showing people exactly how [a routine] has to go. I’m basically inspiring people, showing them different options and ideas, creating stories that help them move better. I’m creating a mood and moving around with [the talent]. A choreographer would normally come on set with prepared choreography. I’m giving more freedom to the people I work with to get the best out of them.”
How did you get into movement direction?
PB: “By accident, really. It was a very natural process. The first time I did it was in 2013; I was modelling for [Alexander] McQueen and we were in rehearsals. Sarah [Burton, creative director] came over and asked me to show the models how to walk. I was pretty shocked — I thought she had the wrong person, but she told me she’d been watching me and she could see that I understood the collection, was listening to the music and walking to the beat. That’s when I first thought, ‘This could be interesting’.
“Working with John [Galliano at Maison Margiela] is amazing because I grew up watching his shows and admiring him so much. And models’ walks and fashion shows had become very simple, very ‘street style’ and every day. So it was the perfect time to start working with Margiela to create movement on the runway and make people feel free.”
What does your day-to-day schedule look like?
PB: “No two days are the same. I don’t have a settled schedule. I can be at fittings or on set, or on location. There’s a lot of travel involved, and I try to look after myself — I go to the gym, I do yoga, I swim — and spend a lot of time researching ideas and meeting with different people, friends, family. It can be hectic.”
What is the biggest misconception about your role as a movement director?
PB: “It is a relatively new term, so people often don’t understand it at all. They will say, ‘Oh, you’re a choreographer?’ or ‘Oh, you’re a director.’ Sometimes it’s easier to just say yes rather than always explaining the difference. I’m basically in the middle of the model, the art director, the makeup, the music — I make everyone click.”
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