What it Takes to be a Dancewear Designer
When Kelsey Byerly started making her own uniquely styled leotards while studying in the Joffrey Ballet School/New School University BFA program in NYC, it didn’t take long before classmates bombarded her with requests for garments of their own.
For her senior thesis, she drew up plans for a dancewear company and presented a fashion show with 10 outfits for friends and faculty. Three years ago, after graduation and a short stint performing with California Ballet Company, she made her school project a reality and started the company, Flaunt Body Wear in Encinitas, CA.
Skill Set: Starting a line of dancewear requires creativity, persistence, patience, business savvy, knowledge of sewing and clothing construction, fabrics, work space and money.
Humble Beginnings: When funds were short during Flaunt’s start-up, Byerly worked out of her home and stored finished garments in the garage. She even modeled her own designs; her mother served as the company photographer and the backdrop for the photos was a white sheet hung in the living room.
Gotta Dance: Byerly teaches dance classes on the side for extra income and to keep herself moving. “I just can’t be happy only designing all day and not dancing.”
Life of a Leotard: After sketching a design, Byerly has a pattern and sample garment made before the final product is mass-produced and shipped to retail stores and individuals.
Signature Styles: Unique leotards with flower embroidery, mesh insets and asymmetrical details.
Trend Spotting: Keeping a finger on the pulse of the dance community is essential. Byerly asks dance students to fill out surveys on their dancewear likes and dislikes to help guide Flaunt’s designs.
Coworkers: Fabric makers, pattern makers, cutters, sewers, models, photographer, web designer, accountant, sales representatives, retail store owners
Tools of the Trade: Drawing table, sketchbook, scissors, pins, fabric, measuring tape, fashion magazines Inspiration: “For ideas, I look at what trends are in fashion magazines and on TV,” Byerly says. “I clip pictures and hang them up.”
Hours: “I’m my own boss, so I work whatever hours are needed, and sometimes that means 12-hour days.” During the fall, she works 10-hour days Monday through Saturday to keep up with the busy back-to-school season, but works more regular hours the rest of the year.
We always love a good halftime performance. And we LIVE for halftime performances involving talented kids. (Fingers and toes crossed that Justin Timberlake follows Missy Elliott's lead and invites some fabulous littles to share his Super Bowl stage.)
So obviously, our hearts completely melted for 5-year-old Tavaris Jones. Tavaris may have just started kindergarten, but during Monday night's game between the Cleveland Cavaliers and Golden State Warriors, the Detroit native danced with the panache of a veteran pro at halftime.
Getting corrections from our dance instructors is how we grow, and as students, it's important that we do our best to apply every correction right away. But sometimes—whether it's because we're in physical pain, or have a lot on our minds, or are just not paying attention—those corrections don't sink in. And from a teacher's standpoint, giving the same corrections time and time again gets old very fast. Here are 10 important corrections dance teachers are tired of giving. Take them to heart!
Summer intensive auditions can be nerve-racking. A panel of directors is watching your every move, and you're not even sure if you can be seen among the hundreds of other dancers in the room. We asked five summer intensive directors for their input on how dancers can make a positive impression—and even be remembered next year.
The coolest place she's ever performed:
I'd have to say the Super Bowl. The field was so cool, and Katy Perry was right there. And there were so many eyes—definitely the most eyes I've ever performed for!
Something she's constantly working on:
My feet. I'm flat-footed, so I'm always hearing, 'Point your toes!' And I'm like, 'I am!'
My hair! That, and a pair of leggings with a T-shirt or tank top.
In our "Dear Katie" series, former NYCB soloist Kathryn Morgan answers your pressing dance questions. Have something you want to ask Katie? Email firstname.lastname@example.org for a chance to be featured!
For a long time, I was the strongest dancer at my studio. But this year there's a new girl in my class who's very talented, and my teacher's attention has definitely shifted to her. I'm trying not to feel jealous or discouraged, but it seems like my whole dance world has changed. Help!
In the dance world, Mandy Moore has long been a go-to name, but in 2017, the success of her choreography for La La Land made the rest of the world stop and take notice. After whirlwind seasons as choreographer and producer on both "Dancing with the Stars" and "So You Think You Can Dance," she capped off the year with two Emmy Award nominations—and her first win. Dance Magazine caught up with her to find out how she's balancing all of her dance projects.
Marzia Memoli may be the Martha Graham Dance Company's newest dancer, but her classical lines and easy grace are already turning heads. Originally from Palermo, Italy, Memoli started studying at age 16 at the Academy of Teatro Carcano in Milan. Later, she attended the Rudra Béjart School in Lausanne, Switzerland, before heading to NYC in 2016 to join MGDC. This month, she'll perform The Rite of Spring in the Martha Graham Studio Series in NYC, and tour with the company in Florida. Read on for the dirt.