Behind the Image is an ongoing MODELS.com series taking a more personal look at both established and emerging creative talent.
Jorge Dorsinville by Terry Tsiolis| Image courtesy of Exposure NY
Jorge Dorsinville, Movement Director
Hometown: Salvador, Bahia, Brazil
Based: New York
Representation: Exposure NY
How would you describe your work?
What I do is BODYtelling. I create emotion in a meaningful and sculptural way. I have a specific physical vocabulary that continuously seeks to connect with the idea of freedom and beauty. This can manifest in various ways, such as directing fashion shows, creating content for ad campaigns, working on editorial projects, or choreographing for films. Ultimately, it’s all about connection.
What sets your approach apart?
Movement is synonymous with trust. Much of my work focuses on fostering a trusting relationship between myself and the talent. When there is trust in the process, the movement reflects a belief in the idea and the message we want to convey. A person will express their movement if they feel they won’t be judged. Only then can I support and direct them effectively. My goal is always to understand the essence of the individual and push their capabilities.
When did your passion for dance first begin, and how did it evolve into your career as a movement director?
Among all my memories, one stands out vividly: growing up in Salvador, Bahia, I often feared being bullied for expressing myself through movement. One day, I witnessed a traditional neighborhood competition called “Gyncana,” that highlights unique performances. This spectacle inspired a profound sense of freedom of expression that deeply affected me. I believe that movement heals, transforms, inspires, and moves the planet. Just like nature, our bodies are made to move. At the beginning, I translated the idea of movement into choreography—a dance, methodically crafted. Later, it evolved into recognizing that directed movement could be as simple as a still body lifting a finger in a certain way or a full-on “routine.” I also appreciate the relationship between object and movement—how one can inform the other.
What other jobs have you had?
Intern at a court of justice, dance teacher for kids with autism and Down syndrome, housekeeper, car detailer, extra on Ryan Murphy’s TV shows, production assistant, Santa Claus helper at a mall, music concert host, and so much more! I’ve clearly lived a very eclectic life.
What inspires your creative process, and how do you translate those inspirations into movement for your work?
So many things…Life inspires me! But in particular (and in no special order):
Mature bodies: They are like a full plate of the finest food in the world; they carry countless values, stories, treasures, and inspiration. They are the true guardians of movement, showcasing the most polished gestures and presenting a vivid display of life in motion.
Food: For the art of fusion, the idea of transforming nothing (or something unexpected) into a sensorial journey of discovery.
Architecture: For its geometric and graphic aspects. When I’m creating, I always think about architecture.
Nature: For being the most incredible movement right in front of our eyes.
What do you love about what you do?
Helping people reconnect with themselves.
What are some of the biggest challenges you’ve faced professionally, and how have they shaped your growth?
Educating people about what I do and finding space within the industry has fueled me to see opportunities where I hadn’t before. If you think about it, movement is part of everything in life.
How do you use movement to convey emotion or atmosphere in a campaign or editorial?
They are two different territories, and both are selling a product. For a campaign, the movement should align with the creative vision and the brand. In an editorial context, we can push the boundaries. The movement is meant to add value, provoke thought, seduce, inspire, define what comes next, enhance the appeal of the product, and invite the audience to dream with us.
How do you adapt your direction to work with different types of talents—whether new faces, seasoned professionals, or non-traditional models?
I worked for many years assisting theater directors and in the music industry, helping actors, singers, and musicians discover their body expression on stage. Part of my work is understanding that each body brings a different story. I feel my role is to creatively make their BODYography the hero of the story. I love being able to recreate a new story every single time.
What’s one thing outside of your work that you would like people to know about you?
I am driven by love. I believe, like movement, love is a force of transformation and a healer. During the pandemic, I created the OnlyLove movement to help spread love and remind people of its power. Through the OnlyLove t-shirts and sweatshirts, I allowed people to help me share the message that love is more than a feeling—it’s an action.
How has the role of movement evolved in fashion, and how do you envision it shaping the future of storytelling in the industry?
The role of movement director is finally gaining recognition in the fashion industry. However, we still face challenges, such as a lack of budget for this role in productions. I believe this stems from a lack of understanding of the value we bring to the final result and the artistic possibilities we can explore. There is always something that can be creatively reinterpreted, reimagined, or expressed when my role is involved. As with any emerging role, it will take time for full appreciation and integration, but I remain optimistic about the future. Every opportunity I’ve had has been celebrated, and we’ve positioned ourselves as a vital part of the creative process. Movement is a marker of culture, and we need to remind people of that.
Selected Work
Mamuor Majeng by Carlijn Jacobs | Image courtesy of Exposure
Les Éternels De Balmain Fragrances 2024 Campaign
This image was created with Carlijn Jacobs and Olivier Rousteing. It is one in a series of eight for the launch of Balmain’s first fragrance collection. The theme of this fragrance was rebirth. Creating a body shape that translated the idea of rebirth was an exploration of transformation, renewal, and the cyclical nature of life. The concept was approached by translating the key physical, emotional, and symbolic elements that evoke a sense of beginning anew through the shape of the fetus in the womb, right before birth. Since this was a rebirth, it was important to represent a different later stage of the process—a moment more free, less constricted, and more expanded. I first created the body shape with my own body and then guided Mamour (Majeng) on set afterward. It started with exploring a cocoon-like position—knees tucked, arms pulled in, head bowed—and then slowly unfolded into an expansive, upright shape, with arms reaching outward or upward to symbolize growth, freedom, and resilience. This concept was used in both still images and film. I wanted to integrate the fragrance bottle in a way that it could be interpreted as an extension of the body, resulting in a blurring of the lines between the fetus and womb.
Quannah Chasinghorse by Bjarne x Takata | Image courtesy of Exposure
Quannah Chasinghorse for Domina Journal
This is a behind-the-scenes image from a photoshoot with my dear photographer friends Bjarne x Takata, who are among my favorite collaborators. The creation of this image was what I often refer to as a “cooking live situation.” My goal for this shoot was to transform Quannah’s (Chasinghorse) movement into a celebration of her natural beauty and power, highlighting her multifaceted talent as a model.I asked for her consent and began to touch her body like a sculptor molding a piece of clay, paying special attention to specific aspects, such as the extra curve in her spine, to make her body look as sculptural as the Thom Browne corset she was wearing.
Sterling K. Brown by Anthony Seklaoui | Image courtesy of Exposure
David Yurman Holiday 2024 Campaign
For this David Yurman project, we were shooting actor Sterling K. Brown. Working with a celebrity was a different process. I had to understand Sterling’s personality and wanted his performance to feel natural, organic, and real. I studied his Instagram videos and realized he had a natural swagger that I wanted to capture. There were two specific needs. One was to capture the jewelry in a close-up shot, and the other was to convey a mood in wider shots. First, the close-up. Working with Anthony Seklaoui, I used minimal movement, relying more on subtle, controlled gestures to highlight the product. For the lifestyle shots, I worked with Marcell Rev and created bigger movements that would translate an attitude from head to toe. My job was to make Sterling bring the fun, freedom, confidence, and intimacy of being alone in his apartment, getting ready to go out—uninhibited and having the best time of his life.
Cami Arboles by Andrew Jacobs | Image courtesy of Exposure
The Athlete’s Body
This is an image for Present Space Magazine’s BODY issue. It features Cami Arboles, a pole dancer. I wanted to allude to Cami’s profession, but the challenge was that we didn’t have a pole on set, so I decided to use the piece of fabric attached to her shoes to give the illusion of her craft instrument. I love celebrating every kind of body and showing the uniqueness and beauty of each one by creating unforgettable body shapes that help people see bodies in a new light.
Maty Fall by Sharif Hamza | Image courtesy of Exposure
Elle U.S. May 2023 Digital Cover
This image is from my first editorial. Working with the iconic stylist Alex White, photographer Sharif Hamza, and model Maty Fall. It was love at first sight for all of us, and we had the best time. The process was a truly collaborative effort between all of us. We created as if we were cooking a delicious dish together! I came up with the idea of physically integrating the bag and the fashion as a cohesive grouping. I wanted the bag to become an extension of Maty’s body. To achieve the poses in these images, I used a lot of my 3-dimensional way of moving, where I direct the talent to focus on a point in the air and then start moving around the space without a fixed location for the body. I wanted her body to be constantly in motion. My goal was to create unity between the model, fashion, and accessories.
