human element - casting and movement direction for powerful storytelling
Piotr Chamier’s casting for ETRO SS’24 men’s
"It's the death of fashion as we know it," predicted trend forecaster Li Edelkoort in a conversation with Marcus Fairs. "Fashion with a big F is no longer there. And maybe it's not a problem; maybe it's actually a good moment to rethink. The comeback of couture, which I'm predicting, could bring us a host of new ideas on how to handle the idea of clothes." This foresight from 2015 is becoming increasingly visible today. The story, the craft, and the concept are now taking the main stage in fashion. While some sectors of the industry are quicker to embrace this shift than others, the change is surely underway.
Looking at the most viral shows from the latest fashion month, it’s clear that audiences are increasingly drawn to the experience of the show itself, rather than just the products presented. Fashion seeks to provoke deeper emotional and intellectual engagement, similar to the way art resonates with its audience. This shift mirrors broader cultural trends toward individuality, sustainability and authenticity. Just as we now invest in experiences over material goods, we seek out fashion that provides meaning beyond the product.
In this shifting fashion landscape, new professions are emerging, while others are gaining renewed sense of urgency and recognition. Among these are casting and movement direction. Though relatively still under the radar, these roles demand a delicate balance of instinct, skill and emotional intelligence. As creative and communicative bridges between photographers, designers, and models, casting and movement direction play a crucial role in shaping the visual narratives of fashion. They highlight the authentic human element that captures attention and effectively conveys the story embedded in clothing making it live and relatable.
Meet two outstanding Polish creatives, Piotr Chamier and Pat Boguslawski, whose nonlinear careers have taken through various parts of the creative industry. Now, they collaborate with some of the most coveted fashion labels, fine-tuning their representation and experiential strategies to reflect the evolving global culture and clientele.
Isla Gaskin shot by Nicolai von Bismarck, casting by Piotr Chamier
Piotr Chamier
Today casting means not just selection of pretty faces for campaigns or runways - it plays a vital role in shaping a brand’s image and identity. In an era where diversity and representation are paramount, casting decisions not only target specific client niches but also hold significant social influence, shaping perceptions of beauty and inclusivity for both current and future generations.
Piotr Chamier is one of the most acclaimed Polish casting directors, working between Paris and London. His impressive portfolio boasts collaborations with prestigious names like Lanvin, Ludovic de Saint Sernin, Dior, Burberry, Stefan Cooke or Craig Green. Born in Szczecin, Piotr's journey into fashion began with modelling. “I had a rather unremarkable modelling career when I was 17,” he chuckles. “Already then, I was scouting boys for modelling agencies to earn some extra money while studying, so I was always involved in casting, though I never considered it a profession.”
His career has evolved through a series of trials and errors, shaping his broad understanding of the industry. After studying fashion design in Paris, Piotr took on a role as a design assistant for a womenswear line at Acne Studios. While he enjoyed the experience, it led him to realise he didn’t want to work for a single brand throughout his career. He later went on to move to Berlin, where a brief stint in styling introduced him to a casting director Julia Lange. “She was going on maternity leave and handed over some of her castings to me. I was sort of thrown into the deep water” Piotr recalls. This marked the beginning of his full-fledged casting career, with one of his first major editorial projects being with Tim Walker and show casting for Lanvin. Those significant and rather aspirational experiences Piotr recalls as the pivotal moments that confirmed his path.
When asked about changes he has observed in fashion throughout his career, Piotr notes an increased freedom for casting directors to explore unconventional ideas of beauty. “I definitely think that a lot has changed. A quick reflection—I barely pay attention to measurements anymore. (...) I’m part of a generation of casting directors for whom that’s no longer important. If you look at shows from the early 2000s or even from 2010 to 2013, you’ll see a marked shift around 2013 or 2014. Before that, when Eastern European models dominated, everything had to fit into certain measurements. Now, that’s completely different.” Casting today has become more democratic. It’s not only about professional models but people of various sizes, ages, ethnicities and backgrounds reflecting a globalised world we live in.
Designers today often seek to cast individuals who haven’t walked the show before and who can bring a sense of freshness to the brand’s image. “I’m fortunate to collaborate with photographers, stylists, and designers who are incredibly innovative and allow me to express my creativity,” Piotr shares. “I also enjoy working with young designers, visiting their studios, and discussing ideas while their collections are still in development. I love being deeply involved in the entire process, brainstorming themes for the casting early on.”
Scott Barnhill for Arena HOMME+ by Jeremy Everett, casting by Piotr Chamier
He emphasises that models today embody much more than just the look. The commercialisation of the industry has, in many cases, made clothing itself somewhat bland, increasing the importance of strong casting choices for brands. “Personality plays a significant role because, frankly, the clothes have become quite monotonous. When you look at some of the recent shows, everything blends together. You need personality to elevate the garments.” Piotr says.
He doesn’t see a real threat from AI-generated models, which some brands have started using to cut costs. “They still lack this vital spark. They may look at you, but it’s as if they’re looking through you—not at you, but beyond you.. ” he continues. “An intelligent spark is something I always look for in models. Many of the girls I cast, have a slightly tomboyish vibe, which I like. For me, it’s about the intelligence in their eyes. I also seek a certain edgy chicness, particularly in male casting, which is deceptively simple yet challenging. I’m drawn to nonchalant, chic faces that seem to carry a story.”
Pat Boguslawski
The origins of movement direction as a recognized profession date back to the 90s, with pioneers like Stephen Galloway. Today, movement direction is gaining increased respect within the industry, and Pat Bogusławski has become one of its most recognised figures, with British Vogue dubbing him Fashion’s Secret Weapon and lately landing on the prestigious BOF500 list. "I started doing my job because I got bored. I just didn't like the direction we were heading toward… I promised myself that I'd bring energy back to fashion and create major runway moments," he shares in an interview with Tim Blanks.
Movement direction is often misunderstood as simply choreographing models, but in reality, it's about unlocking a genuine connection with one’s body and helping to find a vocabulary of physical behaviour to tell the particular fashion narrative. A model might look stunning, but without a strong understanding of movement, they may miss the key to truly embody the designer's vision. Pat’s job is to guide the subjects to move with confidence and intention. "Working with Pat was so illuminating because he approaches his work in a very different way. He’s very physical but psychologically motivated, so we treated it like an acting role," said actress Gwendoline Christie in System Magazine following Margiela's Artisanal show. "He approaches outfits, fashion, as unique characters. He really recognises people's individuality.”
Growing up in industrial Łódź, Bogusławski's early imagination was fed by watching Fashion TV and flipping through Vogue magazines at a time when catwalks were defined by boldness and confidence. The theatrical, extravagant appeal of 90s fashion imprinted itself on his creative mind, a clear influence in the visually striking work he produces today.
Young Pat explored various artistic mediums, from drawing to designing, dancing and modelling as a teenager. Although, much like Piotr Chamier, modelling wasn’t his true calling, it was during this time that he discovered his direction in fashion. A brief encounter with Sarah Burton during a modelling job for McQueen marked a turning point in his career. Recognising his talent, Burton asked him to guide other models in preparation for the show, setting him on the path to becoming a movement director.
For Boguslawski, the best ideas don’t come from mood boards; he thrives on spontaneity and responsiveness to the moment. He’s particularly passionate about working on fashion shows, valuing their unique character as events that happen just once and cannot be repeated.
Pat's collaboration with John Galliano on Maison Margiela since 2018 has resulted in memorable campaigns and show moments, reviving the kind of cultural impact that characterised fashion back in the 90s. One of his most iconic moments from this collaboration came in 2020 when he directed Leon Dame's viral runway walk. The German model's fierce and confident stride, a style long absent from the fashion stage, just stole the show. This year’s Artisanal Collection further proved Bogusławski's exceptional ability to channel and extend the brand’s creative language. The show was not just an event, rather a moment in fashion history that will be remembered for years to come.
Piotr and Pat had their hands full this (and every) fashion season, working on several high-profile line-ups. On a Polish note, they were both involved in Magda Butrym's spring-summer 2025 “Gossamer” collection, which marked her first on-schedule presentation during Paris Fashion Week. The lineup channelled a sophisticated yet effortless vibe, with pieces styled in Butrym's signature blend of contemporary design with subtle nods to Slavic heritage. Models moved gracefully through a bright, eye-satisfying space designed by Anna Szczesny, filled with curated cristal pieces and vintage lace. Piotr’s casting, combined with Pat’s movement direction, played a key role in elevating the presentation, with the models embodying the collection’s chic, playful, and romantic energy, channelling the brand’s dna.
In today’s fashion world, creating a lasting impression requires delivering a unique and authentic experience. Whether it’s the intimacy of Butrym’s presentation or the grand theatricality of Margiela, the key is ensuring that the audience forms a genuine connection to the brand and becomes engaged in its story. Casting and movement direction are vital in making that connection feel authentic, relatable and unforgettable.