Given it was such a special evening, Marchand wanted to find a striking look to celebrate the exciting dance season ahead. For the festive gala, Marchand worked with his close friend and stylist Christopher Rao to find the perfect red carpet outfit. Together they landed on a black Hermès leather jumpsuit, from designer Véronique Nichanian’s fall 2026 collection (her last for the house). “I felt absolutely at ease wearing it. I like that it is a bit disruptive, and not really expected in that kind of event,” says Marchand.
The jumpsuit is actually a re-edition of a leather style that first appeared in Hermès’s fall 1991 menswear collection. To make it feel fresh and modern, though, Marchand paired it with a charcoal poplin sleeveless top and calfskin boots, as well as diamond pavé rings, earrings, and a chaîne d’ancre necklace from the historic French maison. “All the details in the jumpsuit were so delicate,” says Marchand. “The jewelry was more discreet and subtle, which created a nice balance with the outfit.”
“When I am not performing or rehearsing, I would describe my style as chic and street,” says Marchand. “I want to feel comfortable in my clothes, but as the same time, I also want them to give me confidence.”
Photo: Eric McArthur
The edgy, moto-inspired look was a fresh alternative to the more dancerly and lightweight styles that Marchand typically dons on stage. For the rest of the month, however, the dancer will be slipping back into his movement-ready attire: He is starring in L’Histoire de Manon, a sentimental production for the star. “It’s an incredible ballet, and the first leading role I was given when I was only 21 years old,” says Marchand. “I danced it with Dorothée Gilbert, who’s now doing her farewell on Thursday. This is a very moving moment for both of us, as we have been performing together for more than 10 years. I want to enjoy every second by her side before saying a final goodbye.”
Marchand has been dancing in the production since early September, and it’s been a ballet unlike any other. “It’s a very demanding ballet—technically speaking, but also the emotional side of it,” says Marchand. “As ‘Des Grieux,’ the male part, you have to be extremely in shape, as the pas de deux lifts are difficult, elevated, dangerous even, sometimes. The story of the ballet is also quite dramatic, so you have to dig into your own emotional life to embody the characters in a genuine way.”
