FASHION AND ART : ANAÏS TOURET

Dress Anaïs by AKNVAS

Styled by Vana Perisa

Style Make up Pauline Narholm

Anaïs is a dynamic force in the ballet world, celebrated both for her expressive performances and her creative choreography. She has made a significant footprint in Norway, performing and choreographing for the top echelons of contemporary ballet.

We wanted in this article to celebrate Anaïs. A ballerina and an innovative choreographer !

This article highlights her French heritage, her Norwegian career and her presence both on and off stage.

Talent Anaïs Touret

Dress Monetre

Styled by Vana Perisa

Style Make up Pauline Narholm

Origins & Inspirations

Let's Dance !

French-born (1997), Anaïs Touret began training at age four with Isabelle Filomeno at Rocbaron. She moved then to École Nationale Supérieure de Danse de Marseille and ended her studies at the Académie de Danse Princesse Grace in Monte Carlo.

Anaïs Touret

Contemporary Exam 2016

Academie de danse Princess Grace

As a Dancer

Anaïs is a dancer at the Norwegian National Ballet (Oslo). She’s performed leading roles as Manon by Kenneth MacMilan, Cupid in Don Quichote, also different Kylián’s ballet as 27’52”, One of a Kind, Gods and Dogs; Wings of Wax, No More Play, Bella Figura, was a soloist in Ekman’s Cacti; took on the only female role in Naharin’s Secus; and had a role created specifically for her in Johannessen’s The Rite of Spring, Samantha Lynch's Couch, Vildanden , and other pieces created by Alan Øyen Lucien inquiet , Jo Strømgrens with Stigma ....

Her repertoire also includes classical and contemporary highlights: Naharin´s Minus 16, La Bayadère, Balanchine’s Serenade , Rubies and Symphony in C, Giselle, Anna Karenina, Nutcracker, Onegin, Manon, Swan Lake..

As a Choreographer

Norwegian media like NRK have described her as “a promising choreographer.”

AE8-DA6-EA-58-DE-4-FBD-940-E-22918120-FBBA

ARTIST @anaistouret

Photo @tonjegulbaeck

Dress @christopheresber

Anaïs made her choreographic debut on the Main Stage in 2021 with Afternoon of a Faun, co-created with Whitney Jensen .
Earlier works include Inversion (2018) and Mind (2019); in 2020 she choreographed Wagō for the Norwegian National Ballet and Let’s Play for NNB 2 .

Her choreography has received international recognition: she was invited to present in International Draft Works at the Royal Opera House in London, and featured at the Ostertanz Festival in Germany .

Since 2020, she has been part of the workshop company, an initiative to nurture choreographic work within the Norwegian National Ballet.

She has also created a choreography for the norwegian artist Sondre Justad, Nils Bech and other main events in Oslo

In 2024, She premiered her piece " When it began" at the Linbury theater in London for "Next generation" created on NNB 2.

It was a privilege to be part of Anaïs’s journey at the National Opera and Ballet of Oslo for a few days. This Opera is not only an architectural landmark for Oslo. We were privileged to discover a place where professionals collaborate, built together, and for a moment we realized how this place was a lifestyle space where dancers, artists and colleagues live a professional life together. The Opera is not only a beautiful project but also a place that benefits from modern structure which has enabled all dancers and artists to grow, progress and create performances. The condition and infrastructure of this Opera are exceptionally well-designed and we could feel how the conditions were created to make the artists comfortable for their daily work. It was an amazing off stage experience that also helped us to understand Anaïs’s world and sit down for a brief interview.

Bonjour Anaïs

RM : You began dancing at four years old in France. What was the moment you knew dance would be your life?

AT : At the age of four, I began ballet lessons as most other girls my age. I trained at Ecole de danse de Rocbaron in my village under the exceptional guidance of Isabelle Filomeno. She instilled in me the values of rigour, discipline and artistry. I am deeply grateful for her influence.

During my training at her school, I developed a versatile skill set in ballet, jazz and contemporary dance. And at the age of eleven, she encouraged me to audition for a more professional institution, leading to my admission to Ecole nationale de Marseille.

I had never anticipated reaching such a high level of achievement. At that time, I did not aspire to become a professional dancer. It was only at the age of fourteen when I auditioned for Princess Grace Academy, one of the world’s most prestigious dance schools. Luca Masala’s acceptance marked the realisation of my dream and the decision to pursue a career in dance.

While I had always been diligent and hardworking, I lacked self-belief. However, witnessing the level of the school and my subsequent admission confirmed my devotion for a career. .

From Marseille to Monte Carlo to Oslo — how have these places shaped your artistry?

AT : To the Académie Princesse Grace,

My time at the Académie between the ages of 14 and 18 profoundly transformed me. Those formative years were both challenging and rewarding, shaping me not only as a dancer but also as a person.

Prior to my time at the Académie in Monaco, I balanced academic studies with dance training in Marseille. However, the Académie provided a dedicated environment for developing young artists. While I continued my academic education online through CNED in the evening and the weekends, i spent my days in the studio everyday from 8am to 6pm and from 8am to around 2pm on saturdays.

Training at the Académie extended beyond technic, Encourage the development of excellence and individual expression. The program instilled into me discipline, artistry, creativity and resilience.

As a small community of approximately 40 students, we benefited from the intimate environment that enabled our director Luca Masala and the exceptional team of teachers to provide personalised guidance. Their dedication and inspiration were invaluable.

Reflecting on those years, I realise their profound impact on my life. The Académie Princesse Grace did not merely prepare me for a career but provided the foundation for my growth into the artist and individual I am today. For this, I am eternally grateful.

Life at the Norwegian National Ballet

Anaïs The Choreographic Muse of Oslo

Talent Anaïs Touret

Dress AKNVAS

Styled by Vana Perisa

Style Make up Pauline Narholm

Grace in Motion — Anaïs Touret’s Story

"Where it began"

Coregrapher Anaïs Touret

Videographer Jørun langeggen for The Norwegian National Ballet

The Choreographer’s Eye

RM : Your works in "Wagō" and "Afternoon of a Faun" and "Where it began" show a distinctive voice. How would you describe your choreographic style?

AT : My own vocabulary has been developed through improvisation. Collaborating with diverse choreographers has also enriched my movement and expression. I am drawn to authenticity whereas ballet often strives for perfection and beauty sometimes in a manner that feels overly polished. In my own creations I favours a style that is raw, honest grounded earthy and deeply human. Simultaneously I enjoy challenging my dancers on a technical level by pushing them with speed complexity and daring elements.

RM : How does being a performer influence your choreography — and vice versa?

AT : I would say that it is very beneficial.

As a performer my choreography is deeply informed by my experience and vice versa. I endeavour to empathise with my dancers to understand what feels natural and organic and how movements resonate in the body. This perspective has improved my ability to communicate with them.

Having experienced both sides of the studio has been particularly enlightening. As a dancer I was accustomed to receiving directions; as a choreographer I have gained a deeper understanding of leadership, including the importance of being strong, taking the lead, respecting my dancers and guiding others. I find myself correcting my dancers in a manner I would wish to receive and I better understand the intentions of choreographers. I can relate to their experiences. This dual perspective has been challenging but at the same time profoundly enriching.

I have also realised a personal passion: I love to create and I feel this need frequently. Above all, I love dancing. This passion for performing is something I am not ready to give up.

RM : What emotions or stories do you find yourself returning to in your creations?

AT : As a visual artist, my initial inspiration often stems from the visual elements such as sets formations and spatial shapes. However, the human experience is the core of most of my work. I am drawn to exploring life itself: the complexities of family relationships and the cyclical nature of existence. Rather than narrating a specific story, I allow a general idea to guide the work. Themes such as motherhood family and the cycle of life are the recurring emotions and concepts in my creations.

Talent Anaïs Touret

Styled by Vana Perisa

Style Make up Pauline Narholm

Anaïs..artist multitasking

Talent Anaïs Touret

Styled by Vana Perisa

Style Make up Pauline Narholm

Anaïs also works as a model and shares her creative process and performances on social media. According to her Instagram, she identifies as a dancer with the Norwegian National Ballet, a choreographer, and a model represented by Heartbreak Management

Talent Anaïs Touret

Body Suit Laquan Smith

Skirt Mônot

Styled by Vana Perisa

Style Make up Pauline Narholm

The creativity we develop as dancers brings something unique to modelling and I am enthusiastic about the prospect of combining these two worlds in meaningful ways.

Beyond the Stage with Anaïs…

RM : You are also a model. How does fashion interact with your identity as a dancer?

AT : I have always been drawn to fashion but equally to the modelling aspect. As dancers we are constantly aware of our bodies, seeing ourselves in mirrors reviewing videos and understanding how to move and pose in the most flattering ways. This awareness is a significant advantage in modelling. I also believe that fashion is an incredibly creative world, just like dance. Both share many similarities in terms of artistry expression and storytelling.

Talent Anaïs Touret

Photo Aksel Jermstad

Skappel campaign

RM : Is there a designer, brand, or era of fashion that inspires you the most here at the store or in general ?

AT : I am drawn to designers and brands that are timeless, simple and classic, but with a modern twist. I prefer a boyish, tailored style for women, particularly suits over dresses, but I am also drawn to statement dresses. Currently I am inspired by brands such as Mugler, Jacquemus, Bottega Veneta and Acne Studios. From the store The Rebirth of Princess, I am particularly drawn to Christopher Esber whose designs are both classy and unique.

Talent Anaïs Touret

Styled by Vana Perisa

Style Make up Pauline Narholm

I also appreciate edgy, fashion-forward pieces that push the boundaries while remaining wearable. Aknvas has a style that I also enjoy.

Talent Anaïs Touret

Dress Anaïs by AKNVAS

Styled by Vana Perisa

Style Make up Pauline Narholm

RM : How would you describes your personal style, both on stage and in Daily life ?

My style is quite distinct on stage and in daily life.

On stage, I embody a character and wear the appropriate costume. In ballet, this often involves elaborate attire such as tutus long skirts and corsets while contemporary dance allows for greater freedom ranging from almost nude looks to baggy clothing leotards and everything in between.

In real life I can be myself. being accustomed to the restrictive and extravagant costumes favorise simplicity and comfort offstage. I prefer pieces that are “cool loose“ and easy to wear. My style often leans towards a boyish-but-sexy or a more sophisticated masculine-sexy look when I am out.

Additionally living in Norway does not help. I prioritize practicality and comfort in my clothing due to the weather conditions which I also appreciate.

RM : Does dancing influence the way you dress?

AT : It does influence me, this is likely not in the way most people imagine. At work, our attire is primarily concerned with comfort. This is evident in the use of baggy layers, ripped tights repurposed as tops, pants with holes, cut-up t-shirts and mismatched leg warmers. In contemporary dance, practicality and comfort are often considered desirable. This aesthetic occasionally influences my everyday style.

RM :If your dance style was a fashion look, how would you describe it?

AT : I’d say it’s raw and unpolished — not about looking perfect or glamorous, but about authenticity. Think of something simple, maybe even a little rough around the edges, that feels alive and honest, like it could have been made in the moment. It’s more about energy and presence than polish. This is more for my choreographic style I would say.

Talent Anaïs Touret

Styled by Vana Perisa

Style Make up Pauline Narholm

RM : When you are performing , how important are costumes to your expression?

AT : It is crucial that costumes are well-fitted and supportive. While this is often the case, the choreographer’s vision can sometimes override the dancer’s comfort.

"Fashion designed this way isn’t just clothes. It’s a way to tell a story." Anaïs Touret

Will I Forget You ? Design Josephine Malcorps

Dancer Anais Touret, Nae Nishimura Skaar, Klara Mårtensson and Marco Letto

Videographer Jørun langeggen for The Norwegian National Ballet

RM : Wich brands, designers or styles inspire you the most ?

AT : It really depends on the mood I am in, for the creation I’m working on at the moment. Recently, I’ve been drawn to the patchwork and deconstructed aesthetics of designers who play with structure and imperfection in a very intentional way.

Outfit made by Josephine Malcorps for "Will I forget you" with Anaïs Touret

Photo Skjalg Bøhmer Vold

I find inspiration in the raw, avant-garde approaches of brands like Maison Margiela, Rick Owens, as well as the sculptural tailoring from japanese fashion. I like a blend minimalism with an experimental edge, often using layering, straps, or cut-outs that create both fragility and strength. Overall, I’m inspired by styles that feel architectural, slightly unfinished, yet deeply poetic — clothes that move between fashion, art, and performance. And usually going for very neutral colors as white, beige, grey, green, black.

RM : Do you think movement changes the way fashion should be designed?

AT : I think it can — movement changes how fashion should be designed. Clothes aren’t just static objects; they come alive with the body wearing them. Designing with movement in mind isn’t just about how something looks standing still, it’s about how it moves — how the fabric flows, how the shape shifts with the body. Movement shows parts of a garment you can’t see on a hanger or in a photo. It can make it feel more dramatic, soft, or tense. Fashion designed this way isn’t just clothes — it’s a way to tell a story.

Talent Anaïs Touret

Dress Anaïs by AKNVAS

Styled by Vana Perisa

Style Make up Pauline Narholm

Yellow Minimalist Aesthetic Summer Teaser Announcement

RM : If you could collaborate with a fashion house for a performance as you did already for some Norwegian designers, who would it be and why?

To be honest, I am not stuck on one brand, fashion house or one event only. Of course I would want it to be in a place with great visibility and with great brands. I have seen some fashion brands, like Dior, who incorporated a dance performance created by Imre and Marne Van Opstal at their show, and that was amazing.
I find it so important to bring more creativity to fashion.

Music and Dance

What role does music play in shaping your choreography and movement?

It’s really important to me. I usually like to start with the music and build the choreography around it. But I’ve also collaborated with composers, creating the music and choreography together. I love exploring contrasts — for example, pairing soft, lyrical music with explosive or dynamic movements. That’s something I really enjoy working with.

RM : Do you have a favorite genre or artist you love dancing with?

I’ve created pieces to a wide range of music — from classics like Jacques Brel or Debussy, to Japanese percussion, to very electronic sounds. I’m often drawn to electronic, ambient, darker music — very modern stuff — and that’s usually the direction I explore with my composers.

I also love incorporating words, whether it’s recording voices, sentences, or even nonsense, and layering them over an interesting soundscape.

At the same time, I’m very open to any genre. I enjoy challenge and love pushing myself to work with different types of music.

Have you ever discovered new music through dance projects that completely changed your perspective ?

Absolutely. I’ve danced in pieces where I never would have imagined the music could be. For example, "Forsythe’s In the Middle", "Somewhat Elevated" features really unexpected, striking music that completely shaped the movement. Another favorite of mine is Ohad Naharin’s Minus 16, where he used the traditional Jewish song “Echad mi Yodea.” We even had to sing or shout parts of the lyrics during the performance, which was such a unique experience.

There are countless other examples I could share. These experiences show that dance can be created to any kind of music — or even to silence. Sometimes the body itself becomes the instrument, creating rhythm, texture, and sound in ways that transform the performance.

Right now, we’re working on a new piece called Láhppon Lost, created by Hlín Hjálmarsdóttir and Elle Sofe Sara. The piece is based on the Kautokeino rebellion, and as part of it, we’re learning how to yolk — something all of us will do on stage. The music is a fascinating mix of electronic sounds and traditional Yolk, which I find very beautiful.

LÁHPPON LOST

Opéra House

A physical, scenic narrative in ballet form that retells the Kautokeino Uprising of 1852 — a significant and violent event in Sami history — through opera dance.
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The choreographers, Ella Sofe Sara who discovered through the preparatory work that she is related to the participants of the uprising, and Hlín Diego Hjálmarsdóttir. This is their first project together with the National Ballet.

The work explores the profound meaning of the uprising, by interviewing descendants of both the rebels and those who oppressed them, as well as academics, priests and psychologists, and brings the story into a modern context.

RM : What’s the most powerful musical experience you’ve had as a dancer?

AT : Hearing the orchestra live is incredibly powerful. For every production, we have stage rehearsals where dancers and orchestra come together. I’ll never forget one day when all the dancers paused, sat on the edge of the stage above the orchestra pit, and just listened. They were playing Henryk Górecki’s Symphony No. 3 for Crystal Pite’s Flight Pattern. It was so profound and moving — an unforgettable moment.

Anaïs navigating between Worlds

Talent Anaïs Touret

Styled by Vana Perisa

Style Make up Pauline Narholm

RM : Do you see fashion, music, and dance as separate arts, or as one interconnected form of expression? Who were your early artistic influences, both in ballet and beyond?

Yes, they all exist on their own. But I think it is so interesting to combinate them all. I can’t say that I ever had one particular artistic influence. Instead, my inspiration often came from the people around me. During my years at school, I looked up to the dancers just a little older than me—I would watch them and think, I want to be like that, I want to reach that level.

Beyond that, I’ve always been drawn to creative individuals, especially contemporary dancers with strong personalities and a distinctive voice on stage. Their ability to bring something unique and personal into their movement inspired me to search for my own individuality as an artist.

I’ve also always had a deep interest in fashion, and the idea of blending fashion and dance has been a constant source of inspiration for me. More than admiring one single person, it was the mix of creativity, individuality, and style in different fields that shaped the way I see dance and artistry.

Talent Anaïs Touret

Earrings Florence

Styled by Vana Perisa

Style Make up Pauline Narholm

Artistic vision and growth....

RM : Are there new styles or techniques you’d like to explore in the future?

AT : I’d really love to explore a more acrobatic style. I sometimes wish I had done gymnastics or other acrobatic sports earlier, so I could bring that into my dancing now. Exploring this side of dance has become one of my current goals.

RM : Do you see yourself moving towards choreography, teaching, or continuing mainly as a performer?

That’s a great question! The more I experience all of it, the more I realize that performing is my main passion. I do enjoy teaching and supporting students who are eager to learn, but I don’t see it being a major part of my future.

On the other hand, creating choreography is something I really love. I enjoy having the role of dancer and choreographer, and I can definitely see myself focusing more on creating as I get older.

RM : If you could design your dream project, what would it look like and who would be part of it?

I haven’t really defined my ultimate dream project yet, but I did try to envision a show at Emanuel Vigeland’s museum. I find that space incredibly fascinating. The idea was for a dance and live music performance. I even applied for funding, but it wasn’t easy to secure. For now, I’ve decided to put this project on hold and focus on other ideas for the near future.

RM : What do you hope the next generation of dancers will take from your journey?

I hope the next generation of dancers carries forward the same dedication, discipline, and willingness to push themselves that has guided me. Today, with social media and influencer culture, things are changing — sometimes people think they can create or “dance” by posting a 30-second reel online. But dance, and art in general, is so much deeper than that. It’s about commitment, exploration, and patience. I hope young dancers remember that real growth comes from time spent in the studio, from experimentation, from struggling and pushing boundaries — and that they never lose sight of the richness and depth of the culture they are part of.

Talent Anaïs Touret

Dress Anaïs by AKNVAS

Styled by Vana Perisa

Style Make up Pauline Narholm

RM : Do you see dance as a tool for cultural or social change in the future?

AT : Dance has long served as a tool for expression, storytelling and connection. I believe it will continue to play a significant role in cultural and social change. In a rapidly evolving world characterised by technological advancement and automation. Dance reminds us of the human experience a machine cannot replicate. It is a medium for conveying emotion, vulnerability and shared understanding. Through movement, we can communicate ideas, provocate thought, and create empathy in ways that transcend words and screens. Therefore, I consider dancing not only as an art form but also as a vital way of keeping humanity at the centre of our culture.

RM : How do you balance discipline and artistry in your daily life?

AT : For me, discipline and artistry are two sides of the same coin, even if they can sometimes feel contradictory. My profession demands structure, focus, and commitment, and I believe that discipline is essential to reach our full potential—while always respecting our own limits.

At the same time, artistry comes naturally. When I’m dancing or creating, it flows from a place of passion rather than obligation. There are days when it feels like work, but I’m grateful that my “work” is something I truly love—exploring movement, expressing ideas, and bringing new creations to life. Balancing discipline with artistry is about embracing both: the rigor that hones skill and the freedom that lets creativity flourish. I feel lucky to live in a world where I get to experience both every day.

Talent Anaïs Touret

Styled by Vana Perisa

Style Make up Pauline Narholm

Rebirth Constantly

RM : We always ask this question. as a ritual in our itws. What mean Rebirth for you ?

AT : I guess rebirth is about renewal, growth, and transformation. In the context of art and dance, it’s also about constantly evolving: exploring new ideas, experimenting with movement, and finding fresh ways to express myself. Rebirth is both a process and a mindset, a way to keep challenging myself while staying true to who I am.

I see rebirth as starting something new. I don’t think I can relate it to my life. I have never started over in my life. It has been some changes in it, but I would say just a constant development and improvement.

RM : If you could choreograph without limits — music, space, technology — what would you create?

AT: I would likely create a piece with a large ensemble of 50 or more dancers. The performance would be staged in an open space or a large industrial building.

Filming with drones could be an interesting approach. I also favour large sets so a very ambitious scale would be ideal. However, this would require extensive rehearsals due to my preference for perfection.

RM : How do you imagine your dance evolving in the next 5 to 10 years?

My dancing has developed significantly since meeting new artists. While I cannot predict my future, I am committed to continue learning. My natural curiosity and ambition ensure that my dancing will continue to evolve.

I intend to challenge myself by exploring less familiar styles such as ballet while deepening my understanding of contemporary dance.

Talent Anaïs Touret

Dress Monetre

Styled by Vana Perisa

Style Make up Pauline Narholm