A Ballet Dancer’s Take: On Balletcore
India Bradley (New York City Ballet) modelling for Aritzia. Image courtesy of Aritzia.
Between the ages of 10 and 18, my mother and I would waltz into the Capezio on 70th and Broadway maybe once every few months and it always went the same way. She would sidle over to a table littered with dance accessories: hairpins with diamonds glued to them, lacey multicolored leotards, knit shorts and matching legwarmers… the works. She would graze her hand over something she liked, eyeing my reaction, hold it up, and say something like, “Han, look how cute this is.” I would shake my head in adolescent distaste saying something along the lines of, “I’m not even allowed to wear those in class Mom.” and she would set whatever item she held so dearly back down on the table in dismay.
This exemplifies what Balletcore means to me: a conception of ballet without the embodied experience of it. While it was touching that my mother wished to take part and dress me in what she considered appealing and adorable, the nature of her experience of ballet next to mine startled me. I used to think she would know better than to advise my attire in such a frilly and extravagant manner but the fantasy of what ballet signifies tends to win out over the reality.
This principle is particularly present when it comes to the trend circulating called Balletcore. Balletcore just like any “core” is an aesthetic turn of phrase used to reference when attire appears balletic in nature (think cottegecore, blokecore, gorpcore…the list goes on).
What could be considered Balletcore is as follows:
Hair slicked back in a bun: Balletcore
Legwarmers: Balletcore
Leotards: Balletcore
Tights: Balletcore
Shoes with ribbons on them: Balletcore
What isn’t included in the phrase Balletcore is the implicit understanding of what it means to be a ballerina. What’s left unaccounted for including the hours of training, discipline, sacrifice, and dedication no longer matters and what does is Fashion. And of course, that’s okay because Balletcore is a fashion trend after all… but I so badly wish it to be more and I know I can’t be the only one. Although the terminology might resonate as diminishing to any dancer when the only things about ballet being appreciated lie within its attire, a saving grace and perhaps a means of rescue for public conception of the Ballerina lies within marketing.
Sure, there have been plenty of examples of pointe shoes placed upon untrained feet (the Instagram @modelsdoingballet serves as a great example of the unfortunate and uncomfortable occurrence) so instead of focusing on the letdowns, I figure highlighting instances of Balletcore that resonate as respectful to the dance world works as a pas de chat in the right direction of recognition. Instead of tokenizing the notion of Dancer/Ballerina, the following companies have not only hired dancers to wear their lines of clothing but are promoting the dancers and dance companies involved in their collaborations.
The newest collaboration I’ve managed to spot is thanks to JCrew, collaborating with New York City Ballet. After taking a look at their website they write: “A delicate balance, of instinct & technique.” I’m not sure why instinct might play a role in the line however the word technique and the implications of the intricacies of balance resonate nicely. While the clothes are what's being advertised, the dancers are depicted in a studio setting and have been filmed in short promo clips développéing and pirouetting in a large manége. We see the dancer at work! Sure, it’s a photoshoot but nonetheless the dancer is in motion. A dynamic means of capture rather than a stagnant posed photograph completely changes the notion of fashion emulating dance; instead the fashion has become a tool to showcase motion.
Another example worth shouting out is Isla Movement (@islamovement on Instagram)
This is an athleisure-wear line of clothing that showcases dancer Alicia Mae Holloway (@aliciamaeholloway_ on Instagram). This campaign features a video of Holloway warming up in the studio donning pink legwarmers, shirts, and leggings. Again, an ode to the notion of studio time and the preparation of the body that’s necessary prior to technique class. Although the setting might seem obvious to a dancer, I’ve spotted many Balletcore-inspired clothing lines void of the rehearsal studio setting which sort of abandons the idea of ballet entirely, leaving the consumer to view it as just another aesthetic. The recontextualization of the clothing not just being worn on the street but in the studio is what pays homage to the realities of dancer life and provides a full-fledged conveyance of the art form. It communicates that being a dancer isn’t just about wearing a piece of clothing but putting in the time and work in the studio to hone one’s technique and craft.
Finally, Aritzia has also hired a New York City Ballet member, India Bradley, to model their line. The shots of Bradley are not only breathtaking in their composition but showcase the dancer mid-movement, as we see Bradley in a beautiful off-kilter passé. On their website, Artizia describes the Balletcore line, “Dance — A flexible range of studio-worthy styles, cut from sleek performance fabrics. Time to jeté.” Not only is the collection being marketed as everyday clothing but a means for movement! “Studio-worthy styles” encourages implicitly that their clothing line is designed to be worn to dance class. I find this exciting as it broadens the notion of purpose for the consumer and encourages expression through movement. The phrase “time to jeté” is not passive, the donning of dancewear is a call to presence via the reminder of times fleeting nature. Aritzia is equipping and sweetly nudging their buyers with the tools to dance, not simply selling clothes that adhere to a current fashion zeitgeist.
India Bradley, New York City Ballet, modelling for Aritzia. Image courtesy of Aritzia.
Of course, this is a trend, not a mission to be a ballerina but embedded in any cultural phenomenon is something greater. In the case of Balletcore, I believe it is the embrace of femininity and for many, a return to girlhood. Other linguistic trends like girl math, girl dinner, girl theory, etc. have been circulating recently and it is no coincidence that Balletcore has blossomed contemporaneously. Within this return to youth and unabashed girliness, there lies a joy in the freedom of expression through movement. Ballet being a first source of kinesthetic expression for many is not only nostalgic but a reminder of a hopeful world in which the future is brimming with promise, it’s no wonder that the public has gravitated towards it as of late. I hope to see the trend continue to grow as it nurtures the public desire to escape into a world of fantasy, wherein anyone can be a ballerina, while exposing the public to the art form of ballet we all know and love. The fantasy of ballet can coexist with its reality as long as the dancer's role is secured in relation to its attire.