Autodidact, Salomé juggles between fashion, performance art and design. Her multi-disciplinary vision has won her over one of the most daring contemporary dance troupes of our time: (LA)HORDE. Meet the stylist and designer Salomé Poloudenny.
Did you always want to follow this path ?
Initially, I was a photo stylist, and my classic practice turned into a more performative one as I tried to mix clothes that had already been worn, from recycling centres or vintage shops. I immediately adopted a mixed approach in my work, using clothes from large designers and second-hand clothes. It was important to find meaning and develop my vision of fashion and image.
How did you meet (LA)HORDE ?
Jonathan, Marine and Arthur invited me to do the poster for Room With a View with Rone, which also became the cover for Rone's album. We made a series of images in a very organic way, mixing recycled materials and press clothes. Following this first collaboration, they asked me to do the styling for their next show. I'm self-taught and it was incredible for me to have access to an institution, to a title that went beyond styling to get closer to being a costume designer or designer.
How do we dressed the dancers of (LA)HORDE ?
Technicality is still the most important thing. It reflects safety in movement. Allowing amplitude, respecting each other's bodies. Around that there's a whole range of things that come into play: the character of each person and my relationship with each dancer. It's a very organic process.
Like (LA)HORDE, in the end. How did you manage to find the stylistic identity for Age of Content ?
We started creating the show together two years ago, at the same moment as the writing stage. They immediately gave us all the elements of what the show meant to them and from that base I started to develop a visual identity using iconography, documentary research and even Google Image.
How do you feel today, seeing the dancers on stage in your looks ?
It's very emotional for me to see the result, it's the culmination of two years' work. I'm pretty proud of it, it's a mix of all sorts of different things at the crossroads of styling, design and dance. We also collaborated with Diesel and its creative director, Glenn Martens, on some of the costumes and it was great to be able to work together on this creation.