IN CONVERSATION WITH SHAY LATUKOLAN

interview by TIMOTEJ LETONJA
words by MARIE-PAULINE CESARI

Numéro Netherlands Digital presents Shay Latukolan, Cover Star of the Day, captured by Daniel Sars in Amsterdam. For this exclusive cover shoot, Shay steps into the bold, avant-garde world of the G-Star x Walter Van Beirendonck collection, where denim is deconstructed, reconstructed, and redefined. Known for his fearless approach to movement, Shay embodies the rebellious spirit of the collection, merging raw energy with high-fashion eccentricity. The collection, entitled ‘Denim with Balls,’ disrupts traditional garment construction, much like Shay challenges the boundaries of choreography and storytelling through movement.

full look G-STAR X WALTER VAN BEIRENDONCK

A visionary in dance and direction, Shay Latukolan has carved a unique path in the industry. His signature style — organic, expressive, and cinematic — has led to collaborations with global icons such as Childish Gambino, Rosalía, Stormzy, and Jung Kook, to name a few. Drawing inspiration from legendary filmmakers like Martin Scorsese and Wes Anderson, Shay infuses narrative depth into his choreography, transforming movement into storytelling. From viral sensations to award-winning projects, he continues to push the art form forward, bringing authenticity and emotion to every step. In this interview, we dive into Shay’s creative world—his influences, his vision, and how movement becomes a language of its own.

Can you recall a film or a scene from a film that first sparked your interest in movement and storytelling?

Watching Michael Jackson’s Smooth Criminal as a child was mind-blowing. The way he merged movement, storytelling, and precision down to the lighting and choreography was next-level. Even now, it still feels iconic. Another film that stood out to me was The Grand Budapest Hotel by Wes Anderson. It showed me how framing alone can tell a story, without much movement. The contrast between Smooth Criminal’s dynamism and Anderson’s precision made me rethink how to frame dance and movement on screen.

full look G-STAR X WALTER VAN BEIRENDONCK

Your choreography blends raw movement with theatrical expression. How did you develop this style, and were there early influences that shaped it?

My style comes from my roots in street dance—battles, open spaces, no mirrors. It was never about being “clean” but about raw energy and authenticity. Groove is the foundation. It’s instinctive, the natural rhythm people feel when they hear music. When I moved into the commercial world, where precision and symmetry dominate, I brought that organic groove with me. It felt different yet familiar, something people connected with. That’s why my work resonates. It’s infectious, and artists are drawn to it.

You've worked across music, fashion, and film. How does your creative process change depending on the project?

It definitely varies depending on the project and the creative direction. For example, when I worked on Milan Fashion Week with Stella McCartney and Adidas, the approach was very different from working on a film or music project. High fashion often has a more structured, avant-garde, or even untouchable feel. It’s often about abstraction, creating something visually striking rather than emotionally intimate.

In contrast, film allows for a deeper emotional connection. It’s about inviting the audience into a world where they can feel something on a personal level. With music, on the other hand, movement becomes a physical expression of sound. My choreography is a reaction to the music, translating it into a visual and physical language. The style completely shifts depending on whether I’m working with house music, experimental sounds, or something else entirely.

Where do you find inspiration today? Do you actively seek it, or does it come unexpectedly?

It’s both. When I was younger, I actively searched for inspiration watching endless YouTube videos, studying different creatives, analysing films, and absorbing as much as I could. I still do that to an extent. But now, I also find inspiration in the everyday conversations, random moments, or things I see on the street.

Sometimes, inspiration comes when I least expect it. I could be talking to someone who isn’t even in the creative field, and something they say sparks an idea. Other times, I find it in fleeting moments of how a shadow moves, how someone unconsciously shifts their weight while waiting for a bus. It’s hard to explain, but inspiration is everywhere if you’re open to it. I try to surround myself with like-minded, creative spirits, but I also embrace spontaneity. It’s not about chasing inspiration, it’s about being ready when it arrives.

full look G-STAR X WALTER VAN BEIRENDONCK

Movement is constantly evolving. How do you stay ahead while remaining true to your artistic identity?

Movement is always evolving. It’s not about keeping up with the younger generation but understanding that it’s constantly changing, especially with how exposed everything is today. When I was growing up, we weren’t exposed to so much at once. Now, dance, music, fashion, everything is moving so fast, and there is definitely pressure that comes with that.

But I think the key is having a deep understanding of who you are. Being your authentic self is the foundation. There’s no one like you, and that’s what I rely on. I trust in staying true to myself, my choices, and what I want to share with the world. It’s important not to fall into the trap of doing what others expect or what you think is needed to stay relevant. That’s the eternal challenge for every artist — staying true to yourself.

Fashion and movement are deeply connected. Do clothes ever influence the way you create choreography?

Absolutely—100 percent. I love clothes, and inspiration can come from so many different sources. I see fashion as ideas of material, design, symmetry, and shape—beautiful ideas brought to life from someone’s mind. The same applies to dance; it’s a physical visualization of sound, by shapes, movement, symmetry, feeling, and expression. Both fashion and dance feel like transforming ideas into a visual language that can inspire or can let someone feel something.

When collaborating with music artists, I consider both their music and attire. For instance, a Great Gatsby-inspired 1950s look might lead me to incorporate jazz movements. At times, I create a contrast between the music and visual aesthetic, rather than aligning strictly with the music’s rhythm. Clothing significantly influences my creative direction.

full look G-STAR archive

You’ve worked with major brands like Nike, G-Star, and Adidas. How does choreographing for fashion compare to working on music videos?

It’s definitely different. In my experience, a lot of fashion brands approach me because they already recognise my style and want me to bring that to their campaigns. That’s not always the case in fashion, but I’ve been lucky in that sense.

The approach depends on the job. If it’s an editorial shoot or movement direction for models, I focus on making the movement more fluid, airy, and elegant, something that feels high-end and experimental. With music videos, I often work with professional dancers, which allows for more complex choreography. But in fashion, I often work with models or artists who aren’t trained dancers, so my role as a movement director is about guiding them, making them feel comfortable, and bringing out the best in them.

That’s a great point. Movement direction is becoming more common in fashion, especially when working with people who aren’t trained dancers. How do you navigate that?

Exactly! My job isn’t just about being good at movement — it’s about being good with people. A lot of people underestimate that. As a choreographer or movement director, you have to know how to work with all kinds of personalities, from models to celebrities to creative teams. Some artists have big egos, so you have to find a way to communicate effectively. You also have to collaborate with people outside of the creative side, like lighting and production teams, and make sure everything runs smoothly. It’s a huge part of the job that people don’t always talk about.

full look G-STAR archive

The Walter Van Beirendonck and G-Star collection is bold and unconventional. How did it feel to move in some of those pieces?

Amazing. I really connect with boldness in my own work, so it made perfect sense to collaborate on this. I’ve always taken a path where I had no direct reference. I didn’t know anyone doing what I wanted to do. That, in itself, is bold. I’ve thrown myself into situations where I wasn’t fully prepared, but I trusted my instincts. So working with this collection felt very natural because it embodies that same fearless energy.

Two words to describe the shoot?

So sick. (laughs) But really, it was an amazing collaboration. The whole team was great, the vision was strong, and the energy on set was just right. Definitely one of my favourite shoots! I love how the photos turned out.

Looking ahead to 2025, what should we wish for you? Any exciting projects you can talk about?

What should you wish for me? (Laughs) Well, I can’t say too much, but I’ve been rehearsing for a major project with Tyla, the music artist. 

And on top of that, I recently launched Paraplue Agency, a dance agency featuring incredibly talented movers, which has been really exciting. After years of training dancers, it made sense to bring them onto projects with me. This approach allows me to maintain my style while building something bigger. We’re currently rehearsing for a major performance, and I can’t wait to see it come to life.

Last June during Paris Fashion Week, we witnessed the Walter Van Beirendonck’s collaboration with G-STAR — a 19-piece limited edition collection called ‘Denim with Balls’. The collection featuring 3D-knitted tops and sweaters, with Van Beirendonck’s slogans ‘Future Proof’, ‘Wow’, and ‘Stitch Less’ is now available in selected stores worldwide.

TEAM CREDITS:

talent SHAY LATUKOLAN
photography and videography DANIEL SARS
styling and production MARIE-PAULINE CESARI
hair and makeup ELDRIDGE MULLENHOF
photography assistance TIMOTHY HOENSON
videography assistance ELIANA CASA
editor and interview TIMI LETONJA
cover design ARTHUR ROELOFFZEN