James Whiteside (Jayme Thornton for Dance Magazine)

Watch James Whiteside Work the Thom Browne Runway in a Tutu and Pointe Shoes

Say you're perpetually impeccable designer Thom Browne. Say you're planning your Spring 2020 Paris menswear show along a "Versailles country club" theme. Say you want a world-class danseur to open the show with some kind of appropriately fabulous choreography.

Who do you call? James Whiteside, of course. On Saturday, the American Ballet Theatre principal—wearing pointe shoes and a glorious pinstriped tutu—kicked off Browne's presentation at the École des Beaux-Arts with a 15-minute, show-stealing solo. Whiteside choreographed the piece himself, with the help of detailed notes from the designer.


"I danced as the character 'M. Brun,' who generously opens his garden to visitors once a year," Whiteside told Vogue. "Thom was very open to whatever choreographic ideas I had and gave me clear references, as far as tone. My character is a proud and artful loner, with a generous spirit."

The Parisian fashion crowd was blown away by Whiteside's impressive skills on pointe (already well-known to dance fans, as are his skills in six-inch heels). Also impressive? The fact that Whiteside jetted to Paris smack-dab in the middle of ABT's epic Metropolitan Opera House season. He danced Lescaut in Manon in NYC on Thursday night, took to the runway in Paris on Saturday, and will be back at the Met as Prince Siegfried tomorrow.

"My friends at Thom Browne contacted me and asked if I was available to go to Paris during June. I said, 'Absolutely not,'" Whiteside told Vogue. "Then they told me what it was for and I said 'Absolutely, yes!'"

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All photos by Jayme Thornton. Wardrobe styling throughout by Chloë Chadá Van for The QUIRK Group.

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For dancers used to moving their bodies and working collaboratively, social distancing at home can come with particular challenges—not to mention the fact that many dance artists are out of work and losing income.

We rounded up the best apps to make this difficult period a bit easier—whether you need a distraction, a workout, a meditation or some inspiration:

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A Letter from the Editor in Chief

Hi, dance friends. It is a strange time to be a person in the world, and an especially strange time to be a dancer. As the dance community faces the coronavirus crisis, a lot of you are coping with closed studios, canceled performances and competitions, and a general sense of anxiety about how your world will look going forward.

Yes, dancers are super resilient, and there's been a lot of inspiring community-building happening. #LivingRoomDances and Instagram dance parties and virtual ballet classes with the pros are wonderful. Dance can, and should, be a bright spot in the darkness. But that weird, empty feeling you have? It might be grief. The loss of the certainty of daily class, the loss of the promise of that big end-of-year performance—that's real. The dance studio has always been a safe place; it's especially hard not to have that outlet now, when you need it most.

We're here for you. We—and our friends at Dance Magazine, Pointe, Dance Teacher, The Dance Edit, and Dance Business Weekly—are doing our best to document the hurdles facing the dance industry, and to advocate for dancers in need. We're developing more online content that will help you maintain and improve your technique while you're at home, and process the mental and emotional fallout of all this upheaval. (You can keep up with the latest stories here.) And we're still making our print magazine. We have issues planned and shot, full of great dance stories and beautiful photos. We're not going anywhere.

We want to hear from you. Talk to us. Or dance to us. Or both. We won't stop moving, and you shouldn't, either.

Margaret

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