So my first ever article happens in sensational Sydney. Quite symbolic as this is also my birth city. The Sydney Opera House has been my home for the last 2 months of Autumn. I am here performing for an epic season of Swan Lake (which just concluded) and the current interchanging season of Vitesse and Symphony in C.
My style during these 'boot camp' Sydney seasons (as we like to call them, as we do over 40 shows in 2 months) requires one crucial item of clothing... COMFY SHOES! These dancing hoofs need as much TLC when they step off the stage. Spring Courts are my latest comfort shoe obsession. If you are not already on the bandwagon, get on it! These quintessential French sneakers are renowned for its unparalleled comfort. Cloud cushioning soles- Oui oui!
Lately Sydney's weather keeps charming me with it's everlasting drops of summer, so today I freshened up my bohemian style mini dress from ZARA by teaming them with the G2 white leather Spring Courts for a comfy, boho chic look.
TO THE STUDIO
Meanwhile inside the Opera house sails, I am getting ready for Symphony in C rehearsals. My trademark warms ups are my black Chacott plastic onesie from Japan along with a very old and treasured knitted shawl I bought for myself from Alannah Hill back in 2002, when I toured to Australia from London with The Royal Ballet Company.
Before a rehearsal I begin warming up in this and as I prepare to start, I would strip down to my leotard and pink tights. We normally mimic our rehearsal gear to the costume of what the ballet requires in order to get used to the movement of fabric and also for the boys who partner us, so they get used to the restrictions of the tulle and the dimensions of the satellitesque shaped tutu. In the case of Symphony in C rehearsals, a tutu is a must.
Shoes- SPRING COURTS
Glasses- AJE for BAILEY NELSON
Photographed by Rohan Furnell.
Warm up plastic onesie- CHACOTT
Leotard- WEAR MOI from BLOCHS
Leg warmers/Tights- BLOCHS
Shawl- ALANNAH HILL
Tutu- Handmade by our AB wardrobe department
Pointe shoes- FREEDS
Photographed and edited by Vivienne Wong.