For the September digital cover story of MMSCENE Magazine, dancer and model Tristan Ridel is photographed in Paris by Nicola Surbera. Stylist Theophile Hermand builds a narrative around contrast and shape, while Justine Sirabella refines Ridel’s look with natural grooming that keeps attention on movement. On set, Asalah Benatia supports the production, ensuring each frame reflects the clarity of concept. Dressed in pieces from Sewmod and Newspeak, he shifts through outfits that contrast defined structure with softer lines.
MMSCENE EXCLUSIVES
In this interview, Ridel reflects on his early fascination with ballet, his ten years with the Vienna State Ballet, and the new chapter awaiting him at the Opéra de Bordeaux. He also shares how modeling grew naturally from performance, and how acting took shape with his debut in Amazon’s ÉTOILE. Speaking about mentors, discipline, and the importance of movement, he gives a glimpse into the principles that guide his work.
Let’s start with the stage, what first drew you to ballet, and do you remember the moment you realized it was something you wanted to pursue professionally?
What originally drew me to ballet was classical music. My parents, dealing with a hyperactive kid (me), tried to put me to sleep by playing classical pieces like Chopin and Prokofiev. It was actually Prokofiev that led me to Romeo and Juliet.
My very first ballet, danced by my future director (Manuel Legris) though back then I had no idea I’d be working with him years later.
What really caught my attention was probably the sword fight scene that definitely made an impression! Beyond that, I was always dancing around, full of energy, and begged my parents to let me try dance classes. When I landed in ballet, I got hooked.
The moment it became serious for me was getting into the Royal Ballet School in London. It stopped being just fun and became a real commitment. More hours, more work, almost like a semi-pro.
You’ve been with the Vienna State Ballet for over a decade. How has your approach to movement and performance evolved since you first joined the company?
Since I first joined, my dancing has evolved, or at least I hope it has! Otherwise, I’ve been very good at pretending! Thanks to experience and the incredible people around me, I’ve learned a lot.
I owe a great deal to my colleagues, who were inspiring to watch and learn from and to the ballet masters who shaped me. Most importantly, my director Manuel Legris trusted me with roles and supported the development of my artistry over the years.
Now, I’m preparing to join the Opéra de Bordeaux in September under the direction of Éric Quilleré. I’m really excited to get back on stage and bring everything I’ve learned to this new chapter. Plus, a new city means new restaurants to discover. Priorities first.
Modeling came later, what was that transition like? Was it a natural extension of your performance background or a completely different mindset?
First of all, I want to thank Géraldine Nicourt (director of Élite Paris men section). I owe tons! Without her, I probably wouldn’t be modelling in the first place, I can’t thank her enough. Well, the transition went smoothly.
My ballet background definitely helped build my confidence, and it’s awesome to bring movement into photoshoots, that’s actually my favorite way to shoot. When there’s flow and energy, it feels more alive, more me.
Your modeling work spans everything from Emporio Armani to Zara and Valentino. Do you approach a fashion shoot the same way you approach a dance performance?
Yes. You need that sense of commitment and respect for the people you work with and being part of something bigger than yourself. Whether it’s a ballet stage or a fashion set, I’m giving it my all—no half-measures here!
At the end of the day, we’re all creating something special, and I’m just grateful to be along for the ride. Fashion or ballet, I’m in.
You recently made your acting debut in Amazon’s ÉTOILE. How did that opportunity come about, and how different was the experience compared to being on stage or in front of the camera for fashion?
Well, I did a public audition in Paris since they were looking for ballet dancers. That’s where I met Margaret Derricks, who was not only in charge of ballet casting but also the choreographer and producer of the show. She believed in me and introduced me to the director. After a few more castings in Paris and New York, I landed the role of Tristan Magan.
ÉTOILE was definitely a special chapter in my life mostly on the personal side. I met some incredible, creative people and made memories that’ll stick with me forever. Especially the moments I shared with my friends and colleagues during the shoot.
Plus, it gave me a backstage pass to the wild and wonderful world of cinema, and what it really means to work professionally on a film set.
The wake-up calls were definitely earlier… 5:45 AM ballet classes were a first for me!
But honestly, I do see some similarities between ballet, fashion shoots, and film: big crews, lots of commitment from everyone, and what you see on screen or stage is really just the tip of the iceberg. So yeah, lots of early mornings, hard work, and a whole lot of caffeine!
Ballet can be incredibly demanding physically and mentally. How do you take care of your body and stay creatively inspired between performances and shoots?
Honestly, just lots of hard work, dedication, and a fair share of physio to keep my body from falling apart!
For inspiration, I pay close attention to the people around me. There’s always something to learn, both from their successes and their challenges. I’m also a big fan of cinema and try to watch movies as often as I can to spark new ideas. And acting classes help me keep growing and improving, I hope.
What’s a typical day like for you when you’re balancing rehearsals, campaigns, and now, acting? Is there any such thing as a “typical” day in your life right now?
Honestly, “typical” isn’t really on my schedule. Every day is different with its own ups and downs, and that makes the highs even sweeter.
I do try to keep consistent routines—ballet classes almost daily, gym sessions, acting lessons—and I’m all in or nothing at all. When big projects like ÉTOILE or a modelling campaign come up, I dive in fully. Other times, there’s not much going on, and those moments are a test of discipline and motivation.
Many young dancers and models look up to you. What advice would you give to someone trying to navigate multiple creative careers at once?
I don’t think I’m really an example to set… I’m still figuring it out myself!
But one thing I do believe in is surrounding yourself with people who genuinely care and believe in you. Never take anything for granted, stay humble, be kind… and above all, work hard! Work on becoming the best version of yourself.
Are there any roles on stage or on screen that you’re dreaming of taking on in the near future?
I’m gearing up to join the Opéra de Bordeaux under Éric Quilleret, which is a big step after a few freelance years. The repertoire coming up has me excited.
On stage, my dream roles would be Mercutio in Romeo and Juliet or dance Le Jeune Homme et la Mort from Roland Petit, but honestly, I’d be happy to dance anything by Alexander Ekman or Marco Goecke to name a few. Their work really inspires me.
For screen roles, I’d love to work again with Amy and Dan Palladino. It was an amazing experience, and I’d jump at the chance if it comes again.
What does success look like to you right now not in terms of visibility, but in terms of personal fulfillment?
Success isn’t about fame or visibility for me. I try to stay grounded thanks to the support of my close ones who keep me balanced.
What really fulfills me is the unpredictable rhythm of life—traveling, discovering new places, and meeting amazing creative people. That’s what keeps me inspired and happy.
Photographer: Nicola Surbera
Stylist: Theophile Hermand at Smith& Agency
Grooming: Justine Sirabella
Talent and Dancer: Tristan Ridel at Elite Model Paris
Set assistant: Asalah Benatia
Location: Paris
