On any given day, Pacific Northwest Ballet’s rehearsal studios are filled with ballerinas decked out in a rainbow of colorful, innovative leotards—many designed and hand-sewn by principal dancer Elizabeth Murphy.

Murphy didn’t grow up sewing. In fact, she didn’t even know how to run a sewing machine until she was 18. She didn’t want to sit still long enough.

The Chelmsford, Massachusetts, native started dance lessons as a child in her hometown, and by her early teens decided to pursue a dance career. She moved to Pennsylvania to train at The Rock School for Dance Education. While still a student, she danced supplementary roles at Pennsylvania Ballet. Murphy then landed a position with Ballet West II before entering its main company in 2007.

But she was miserable. “My first year in the company was the hardest of my career, as of yet,” she says. Murphy didn’t expect overnight success, but she also never imagined how tedious it would be to stand around for six hours every day, waiting to rehearse short walk-on roles. For the first time, she contemplated quitting.

Instead, she decided to look outside dance for a new creative outlet. She discovered it in sewing.

Murphy found a bargain sewing machine online, along with a few easy patterns. Every evening, she came home from the studio to learn something new. When a friend suggested she try her hand at leotards, she found a simple bathing suit pattern, and turned to YouTube videos for guidance.

“It was freeing to practice and master sewing techniques, whereas in dance I sometimes felt stuck, or limited,” Murphy says.

Murphy in one of her own designs (photo by Lindsay Thomas)

The sense of accomplishment she found in sewing motivated her out of her dance rut: In 2007 and 2008 she attended Pacific Northwest Ballet’s summer intensive. Impressed by artistic director Peter Boal, and by the dancers she met in Seattle, Murphy kept an eye on the company and joined the corps de ballet in 2011. She’s moved up the ranks very quickly, and last November, Boal promoted her to principal dancer. In a pre-show speech, he compared her to a young Meryl Streep. “When she’s onstage, the audience can’t take its eyes off of her,” he says.

At PNB, Murphy has danced everything from Sugar Plum Fairy to featured roles in contemporary works, like William Forsythe’s In the middle, somewhat elevated. “It feels so good to dance things that don’t put a limit to your range!” she enthuses.

You can say the same thing about her approach to designing dancewear. Murphy sews each leotard using soft spandex and mesh, with the aim of crafting lightweight, breathable garments. “I try to create simple lines that accentuate the beauty of the ballet body,” she says. She’s also developed a unique leg seam. “It keeps the leotard down better, without cutting into the leg,” she explains.

PNB corps member Emma Love Suddarth says she’s never worn such flattering, and comfortable, leotards before. “I get a little sad towards the end of the week when my Liz leotard supply runs out,” she says.

Last summer, Murphy started to market her eight leotard designs on Etsy, under her own brand, Label Dancewear. “My slogan is ‘Love Your Label,’ which is essentially ‘Love Yourself,’ ” she says. She wants to inspire younger dancers to accept themselves more than she did at her first job. “We’re so passionate about what we do,” she says. “But I think a lot of times, when we’re in it, we don’t see the beauty.”

Murphy still makes each leotard herself but plans to hire somebody to help her meet demand. She’s sold more than 300 leotards in the past six months and hasn’t had time to replenish her stock.

For now, Murphy is content to keep Label Dancewear fairly small. But someday, when she hangs up her pointe shoes, the goal-oriented ballerina may reinvent herself as a big-time entrepreneur.

If you're in the NYC area and are in need of weekend plans, you might want to consider heading to the Film Society of Lincoln Center to see Jean-Stéphane Bron's documentary, The Paris Opéra. While the film was originally released in France this past spring, it just made its way to the US on October 18th, and it chronicles the 2015-2016 season at the Paris Opera.

Encompassing the entire institution (which was founded in 1669 by King Louis XIV!), dancers will particularly enjoy an inside look at the Paris Opéra Ballet—both in rehearsals and onstage. Most notably, Bron captures the then POB director Benjamin Millepied as he decides to leave his position with the company barely a year after his appointment.

Check out the full trailer below, and the Film Society of Lincoln Center's full listing of showtimes here.

Your Training
Thinkstock.

Bianca Bulle was always prone to ankle sprains. When she was 18, her recoveries became more complicated: She started experiencing Achilles tendonitis due to muscle weakness and fluid buildup in the ankle. "The last thing to get back to normal would be my Achilles, which was so incredibly tight and painful," says Bulle, now a principal at Los Angeles Ballet.

The Achilles is the body's largest tendon, attaching the bottom of the calf muscles to the back of the heel. It contracts and releases as you relevé and plié, as well as when you jump and even walk. Tendonitis, or inflammation, of the Achilles is one of the most frequently reported overuse injuries among active people, according to the American Physical Therapy Association. You'll know it by the pain or tightness at the back of the heel. If the condition gets bad enough, the tendon can rupture, which requires surgery to fix.

Achilles tendonitis is especially common among dancers on pointe, but it's not inevitable. With rest and proper conditioning, you can work to avoid it with careful technique and a commitment to cross-training.


Boston Ballet School pre-professional students. Photo by Igor Burlak Photography, Courtesy Boston Ballet.

What Causes It?

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New York City Ballet in Marc Chagall's costume designs for Balanchine's "Firebird."

I am a self-confessed costume nerd who really needs little persuasion to travel nearly 3,000 miles to see a costume exhibition—which is what I did when I set off for California for the new exhibition at Los Angeles County Museum of Art: Chagall: Fantasies for the Stage. I knew Marc Chagall primarily for his sumptuous blue swirling paintings featuring violin-playing goats, his incredible ceiling at the Paris Opéra's Palais Garnier, and murals at the Metropolitan Opera House in New York City, so I was intrigued to see his work with ballet.

Marc Chagall (1887–1985), was born Moishe Zakharovich Shagal in Belarus. He later moved to St. Petersburg, Russia, to study art, apprenticing under famed Ballets Russes designer Leon Bakst. Chagall's work in ballet and opera, however, did not begin until he and his wife Bella arrived in the U.S. as World War II refugees in 1941.

Chagall: Fantasies for the Stage, adapted from an earlier exhibition at the Montreal Music of Art and curated by Yuval Sharon and Jason H. Thompson, is an exciting opportunity to see 41 costumes and nearly 100 designs. But it is the costumes that really steal the show. You won't see any tutus here, but instead amazing, almost cartoon-like realizations of Chagall's artwork. LACMA's exhibition runs through January 7, 2018. For those of you who can't make the trip like I did, here's a rundown of highlights.

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Tiler Peck in "Who Cares?". Photo by Paul Kolnik, Courtesy NYCB.

New York City Ballet principal Tiler Peck and Emmy-winning actress Elisabeth Moss (of Mad Men and Handmaid's Tale fame) may seem like unlikely friends, until you dig a little deeper into their backgrounds. Both attended Westside School of Ballet in Santa Monica and spent summers at the School of American Ballet in their youths. Moss and Peck's career paths diverged when the former fell in love with acting and Peck went on to study at SAB full time, eventually becoming the star we know today. Now, the pairs' artistic pursuits are uniting in an exciting new project.

According to Deadline.com, Moss will produce a documentary featuring Peck and her work curating BalletNOW, last summer's star-studded, critically acclaimed program at Los Angeles's Dorothy Chandler Pavilion. Peck was the first woman to lead BalletNOW's programming, and she brought together dancers from companies including The Royal Ballet, Miami City Ballet, American Ballet Theatre and the Paris Opéra Ballet, putting them on stage with tappers, clowns and break dancers (sometimes simultaneously).


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Your Best Body

Looking for creative and healthy ways to get your pumpkin fix this fall? First, back away from the pumpkin-spiced latte—the season's unofficial drink is often laced with sugary syrup and comes with a complimentary mid-rehearsal crash. Instead, try these simple snacks with puréed pumpkin. It's high in beta-carotene, which converts to immunity-boosting vitamin A, and is a good source of vitamin K, iron and fiber. You can buy it canned or make the purée from a "sugar" or "pie" pumpkin (they're commonly available at grocery stores or farm markets).

Fruit-and-Spice Toast

- Spread purée onto whole-grain toast.

- Top with sliced pear.

- Add a dash of cinnamon.

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Pointe Stars

When Maya Plisetskaya first toured abroad with the Bolshoi Ballet, she stunned the world. Her dramatic and technical abilities were far beyond what anyone outside the Soviet Union had seen before. She quickly became an icon, symbolizing Russian ballet.

Plisetskaya was the perfect ballerina to play the Tsar Maiden in The Little Humpbacked Horse when choreographer Alexander Radunsky and composer Rodion Shchedrin recreated the classic Russian folktale in the 1960s. This vintage clip of the ballet offers a glimpse into an era gone by. Although ballet technique has advanced since then, Plisetskaya's performance is still electrifying. She is daring and agile in her manèges and fouettés, while she shows gentle purity and authentic emotion in the pas de deux with the wide-eyed Ivan. Even half a century later, this magnificent artist continues to transfix us with her radiant presence onstage. Happy #ThrowbackThursday!


Pointe Stars
P.O. Alienz in Lavender Leotard; Paulina Waski modelling a Kreature Kulture t-shirt. Photos Courtesy Paulina Waski.

Walk into any ballet class and you're bound to see a row of dancers clad in leotards patterned with dainty flowers and lace. But nearly three years ago, American Ballet Theatre corps dancer Paulina Waski wore a very different kind of leotard to class—and her colleagues loved it. Now an average day at ABT includes any number of dancers in leotards featuring angry aliens, detached eyeballs and grinning monsters.

"My dad, John, is an artist, and he draws all these crazy creatures," Waski explains. "One year he did what he called his paper plate project; he drew a new creature onto a paper plate every single day for 365 days. I thought, 'he should put one on a leotard!' He screen printed one onto one of my old leotards himself, and when I wore it to class everyone was wowed." And so, Kreature Kulture was born.


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