I am Isaac Ares, a Spanish rider and trainer with a diverse background in the equestrian world. I began riding at the age of six, and by eleven I was riding the horses of a local dealer horses that ranged from calm trail companions to challenging animals trained in Show Jumping, Haute École, and Doma Vaquera.
Later, I spent three years living among wild horses in the mountains of A Groba, Galicia, immersing myself in their natural behavior and deepening my understanding of equine ethology.
I went on to train in doma vaquera in Salamanca, preparing horses for traditional ranch work. I then moved into dressage in Barcelona, which set my life on a path toward refining both the theory and practice of horsemanship across several European countries. Eventually, I specialized in biomechanics applied to equitation. I have worked, studied, and collaborated with riders and trainers of all levels, including those who have competed at the Olympic Games, but my true teachers have always been the horses themselves, and my students. Helping an inexperienced rider train an inexperienced horse requires creativity and sensitivity qualities in which I’ve gained true mastery.
My way of perceiving the world is shaped by Level 1 Autism (Asperger) , which gives me a connection to horses that goes far beyond conventional methods. I notice every subtle detail in their body language, understand their biomechanics with surgical precision, and feel their emotional states on a level that is hard to put into words. From this unique perspective, I have developed a training method grounded in science, logic, and absolute respect for the horse.
I didn’t choose the easy path.
I’m not driven by applause, trophies, or external approval.
My work is rooted in who I am: Autistic level 1 (Asperger).
Rather than being a limitation, this condition is my greatest tool. It has granted me an acute sensitivity to detail, a surgical depth of perception, and a level of empathy that lets me feel what others barely perceive.
I live in a world of nuance. I see gestures others miss, I hear silences, I read tension. It’s in those subtleties what’s unspoken, barely visible that I build my way of working with horses.
I haven’t followed the competitive route or sought popularity. I’ve followed the only path that felt real: the quiet road of learning, daily commitment, and absolute respect for the horse.
Each experience, every hour of study and direct observation, has shaped a training system grounded on four unwavering pillars:
Biomechanics: Equine biomechanics is the scientific study of how the horse moves, focusing on the interaction between its bones, muscles, joints, tendons, and ligaments during motion. It combines knowledge from functional anatomy, physics, and physiology to understand the natural patterns of locomotion and how they can be enhanced or compromised by human intervention.
In the context of riding, biomechanics allows for the design of training methods that are both respectful and effective, promoting balance, symmetry, and healthy muscular development while preventing injury and improving performance. It's not merely about observing the external movement, but understanding the internal mechanisms behind it, including compensations and long-term physical effects.
A biomechanically informed approach to equitation does not aim to impose a shape, but to guide the horse toward its optimal physical and functional potential through precise, progressive, and conscious training.
Technique: Equestrian technique refers to the set of skills, knowledge, and methods that enable the rider to communicate with the horse precisely, consistently, and effectively during riding. It involves the correct use of aids (weight, legs, hands, and voice), the rider’s posture, the coordination of movements, and the ability to adapt one's actions to the horse’s level, temperament, and biomechanics.
A refined technique is not merely about aesthetics or control, it is a vital tool for building a clear and fair dialogue between horse and rider. The more precise the technique, the less force or correction is needed, and the greater the fluidity, harmony, and welfare of the partnership.
In classical dressage, technique is continuously honed to reach a level of communication so subtle it becomes almost invisible to the eye, yet deeply meaningful to the horse.
Ethology: Equine ethology is the scientific study of horse behaviour, both in the wild and in domestic environments, aimed at understanding how horses think, feel, and communicate. Grounded in objective observation and biological analysis, ethology interprets equine behaviour based on its evolutionary, social, and emotional functions, rather than through human-centered concepts like "obedience" or "defiance."
When applied to riding and training, ethology allows us to create systems that align with how horses naturally learn, their need for safety, their social dynamics, and their body language. Understanding equine ethology is essential for avoiding miscommunication, reducing stress, and building trust-based relationships rooted in consistency, predictability, and empathy.
It is not a romanticized or sentimental approach, but a rigorous scientific discipline that places the horse at the center of the learning process, acknowledging its complex cognitive, emotional, and social capacities.
Gymnastic Training: Equine gymnastics is a structured set of physical exercises specifically designed to develop, balance, and strengthen the horse’s body in a progressive and healthy way. Unlike general physical work, gymnastics focuses on enhancing the functionality of the locomotor system, improving flexibility, strength, coordination, and bodily symmetry, with the aim of preventing injury and optimizing performance without compromising the horse’s well-being.
When applied with technical knowledge and biomechanical awareness, gymnastics transforms the horse into a more efficient athlete and a safer, more comfortable, and mentally available partner. It is based on the dynamic interplay between mobility and stability, between relaxation and engagement, always aiming for postural harmony and correct use of both the topline and the core musculature.
In classical dressage, gymnastics is not an accessory, it is the very foundation of training, the path through which a body capable of artistic, functional, and long-lasting movement is created.
What I offer is the result of over 40 years of relentless dedication, of mistakes that taught me more than successes, and of an uncompromising loyalty to the horse’s physical, emotional, and mental integrity.
This is my commitment.
This is how I walk through the world.
This is how I honor the horse.
Thank you to all the authors who have guided my learning.
Thank you to all the teachers I have had.
Thank you to all the horses I have worked with, both directly and indirect my true masters.
Thank you to all my students, even those who attended just one class.
And a special thanks to my wife, Eva Ares and to my daughter Zoe, without whom this work would not have been possible
Thank you, all of you.
