Photo by Moris Moreno for Pointe

Jeanette Delgado: The Miami City Ballet Principal Channels South Beach Style

Outside class and rehearsal, Jeanette Delgado sports a laid-back look. But she rarely goes without a pop of pattern or color—a boho touch inspired by her Miami roots. “Growing up here is a part of me," she says. “The weather, the lifestyle. I'm a mix of all that." Delgado's biggest fashion agenda is lengthening her petite 5' 2" frame: Pancaked shoes and full-length tights elongate her line inside the studio, while outside, high-waisted shorts give the illusion that she's all legs. Her secret to adding a few inches of height? She sometimes buys dresses that are too long and hides heels underneath.


Photo by Moris Moreno

The Details—Street

Sunglasses: “I love big, funky sunglasses. I buy cheap ones from ALDO or Urban Outfitters because I won't worry, not if, but when, I lose them."

Top: “It's so hot in Miami. Billowy silhouettes keep you cool."

Anthropologie jewelry: “I keep jewelry super-simple, but I always have an accent ring or small bracelets on."

Steve Madden wedge sneakers: “These are the perfect combo of comfort, height and style."


Photo by Moris Moreno

The Details—Studio

Red Yumiko leotard: “I like to wear something to go with what I'm rehearsing: West Side Story Suite and Don Quixote."

Skirt: “My friend and former MCB dancer Abigail Mentzer makes these. Everyone in our company wears them."

Body Wrappers/Angelo Luzio tights: “I wear my tights inside my shoes. Being familiar with that sensation is one less thing to worry about when I get onstage."

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I have a terrible fear of falling when doing turns on pointe. I sometimes cry in class when we have to do new turns that I'm not used to. I can only do bad singles on a good day, while some of my classmates are doing doubles and triples. How can I get over this fear? —Gaby

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She notes that no one pushed her to keep dancing but herself. "I was 18 and was aiming to receive a contract by the end of the year," she says. "I felt so much anxiety over missing an opportunity that I was afraid to be honest about my pain." Pennsylvania Ballet's artistic staff were understanding and supportive, but Landa minimized her injury for the next few months, wanting to push through until the season ended and contracts were offered. But after months of pain and an onset of extreme weakness in her foot, Landa was diagnosed with two stress fractures in her second and third metatarsals. She spent the next three months on crutches and six months off dancing to allow for the fractures' delayed healing.

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