Noémie was born on July 26, 1993, in Suresnes, France. She grew up surrounded by her cousins and her brother, sharing a gentle kind of playful chaos inherited from their grandparents. From an early age, she was immersed in the sound of waves and flourished by the sea. She practiced sailing and synchronized swimming, making water her natural element.
At the age of 14, after a circus discovery workshop on Île d’Oléron and a growing love for the fixed trapeze—further explored on Île d’Yeu with Anaïs Giraud—a quiet inner voice emerged: she wanted to make this art her profession.
Back from vacation, she met Frédérique Debitte, a former student of the 3rd promotion of the Centre national des arts du cirque, who introduced her to aerial silks. The connection was immediate—it was the material she had been searching for. It was also Frédérique who introduced her to higher circus schools and encouraged her to listen to this growing inner certainty: the need to make it her life.
However, the idea of becoming an artist frightened her, so she first chose to study, convincing herself the desire would fade. She moved to Toulouse to study adapted physical activities and health sciences at Université Paul Sabatier. She earned her degree in 2014, having worked for two years with children with intellectual disabilities through circus and dance.
In Toulouse, it was not easy to forget the circus. During her studies, she discovered Le Lido - Centre municipal des arts du cirque, which allowed her to participate in an exchange with the circus school of Ramallah in the West Bank, as well as to join the Kiprocollective—a training and creation program led by Jocelyne Taimiot that enabled her to perform on stage and organize a full tour.
This experience gave her the time and space to develop a unique approach to aerial silks, and the certainty returned: she needed to become a circus artist.
She prepared auditions during the final year of her degree and was accepted into the joint ENACR/CNAC program in 2015. There, she continued her research on aerial silks, striving to remain true to herself and her desires, staying away from the codes traditionally associated with her apparatus. She sought to make her body feel aquatic, weightless, and surprising, using the silks in all their complexity—continuing to play, to be moved by emotion, and to let herself be carried by it.