metamorphoSIS

ZOOT: You move between dance, modeling, and acting. How do these different practices influence
each other and shape the way you see yourself as an artist?

Paulo: Right now, it’s mostly acting, modeling, and singing, even though my passion for dance remains
strong. Over the years, I’ve realized that techniques and learnings from one practice can feed
another, creating a continuous evolution. As an artist, having these three forms of expression gives
me freedom — the challenge is knowing what to say with them.


ZOOT: Dance is often described as the most direct form of expression. What does movement allow
you to communicate that words or still images can’t?

Paulo: Movement communicates uniquely by inscribing the body and its emotions in space and time. It
goes beyond description, placing feeling into rhythm, tension, and flow. Unlike words or images,
movement keeps a living ambiguity that transcends language and allows endless interpretation.

ZOOT: Gender fluidity and expression are increasingly central in fashion and performance. How do
you approach gender in your own work, style, and private life?

Paulo: Honestly, gender doesn’t exist in my life. I don’t assign it to clothing or actions. A skirt isn’t
“female,” a suit isn’t “male.” I wear and do what makes me feel confident, beautiful, and happy. I
don’t care about the gender.


ZOOT: Do you see your practice as a way to challenge traditional notions of masculinity and
femininity?

Paulo: Yes. But more than challenging them, I want to destroy them entirely.

ZOOT: Acting requires stepping into different roles and perspectives. Has that influenced the way you perform in fashion or dance?

Paulo: Absolutely. Now, when I step into a studio, I don’t just wear a garment. I create an entire imaginary world around it — a character and why she’s dressed this way. Even if these ideas remain in my mind, they give intention and depth to my poses and movements.

ZOOT: The body is at the center of your work. How do you take care of it, and how do you navigate
its limits versus its possibilities?

Paulo: I listen closely to my body. Along with healthy eating, I train 3–4 times a week, swim, and use the
sauna. I love pushing boundaries, but I always prioritize health and safety.

ZOOT: Vulnerability can be powerful in performance and imagery. What role does vulnerability play
in your creative practice?

Paulo: Vulnerability is crucial. Acknowledging imperfection and the possibility of mistakes creates a safe, judgment-free space where ideas can emerge. It’s an exercise in trust — in ourselves, the process, and others — making any creation more human, tangible, and powerful.


ZOOT: Who or what inspires you most right now — in fashion, dance, or beyond?

Paulo: In fashion, I’m inspired by photographers Alejandro Arrias and José Pereira, who influenced
“metamorphoSIS.” In dance, Imre van Opstal and Portuguese icon Olga Roriz are references. In
music, Madonna is MOTHER, a symbol resilience, transformation and reinvention, alongside FKA
Twigs, Grace Jones, and Roisin Murphy.

ZOOT: Today, fashion and performance are also platforms for political and social voices. Do you see your work as part of larger conversations about identity and justice?

Paulo: In today’s world, simply making a project like this happen is, in itself, a political act. Unfortunately, there are always more forces trying to hold us back than to push us forward. That’s precisely why, when we bring together a team of artists and succeed in creating a work that expresses our vision, we are showing resistance and celebrating our identity and freedom.


ZOOT: Sustainability is a pressing issue in fashion. From your perspective inside the industry, what
role can artists and models play in shaping a more conscious future?

Paulo: Sustainability can be tricky in a capitalist society. Early on, refusing work isn’t always possible,
even with brands that don’t follow sustainability principles. Still, artists and models play a key role:
questioning, starting conversations, and using their visibility to guide audiences toward more
conscious choices. Small actions accumulate, shaping how the industry reinvents itself.

ZOOT: Climate change is one of the defining challenges of your generation. Do you feel this crisis
influences your worldview or the way you approach your art and your life?

Paulo: Climate concern shapes how I approach life and art. It’s not just content; it guides daily choices — which brands to support, which materials to use. I favor processes that value people over brands and
narratives that link aesthetics to purpose. Small choices add up.


ZOOT: Social media has changed how performers and models connect with audiences. For you, does it feel empowering, or does it also bring new pressures?

Paulo: It’s a mix of both. Social media gives control over our image and lets us share our vision directly.
But it also creates pressure, with artistic value often judged by numbers — followers, likes, reach
— which can feel toxic and limiting. I try to use it as a tool, not as the sole measure of quality. Art
and identity cannot fit on a vertical screen.

ZOOT: You’ve been part of editorial and fashion shoots. How do you prepare yourself before stepping in front of the lens or onto a stage?

Paulo: I start by studying the concept and understanding the creative team’s vision, that gives confidence and clarity about my role. Knowing the project’s purpose allows me to step into the scene with intention and presence.


ZOOT: Looking back on your career so far, what has been a particularly transformative or defining
moment for you?

Paulo: Without a doubt, my professional acting debut at Teatro São Luiz in Lisbon, in “(Fedra) Não é de
Pedra.” It combined all my passions — music, theater, dance — and was a profound learning
experience. I felt deeply grateful to perform alongside nationally recognized artists in such an iconic
venue.

ZOOT: This editorial was shot with an analogue camera. How did it feel, knowing that the
photographer had only a very limited number of exposures per look?

Paulo: I had never shot on film before, and I fell in love with it — it was incredibly rewarding. The limited
exposures meant the photographer and I had to plan each pose in advance, while leaving room for
improvisation. This created focus and concentration throughout the team. It was beautiful to be part
of a moment where we were all immersed, with a single goal: creating “metamophoSIS.”