Our 7 Favorite Fashion Moments From the New York City Ballet & Paris Opéra Ballet Galas

This year, New York City Ballet and Paris Opéra Ballet's galas fell on the same evening, giving us even more dancer-designer moments to appreciate.


After the red carpet, NYCB's annual fashion-themed gala started with a serious note. Before the curtain went up the dancers gathered onstage to deliver a heartfelt message regarding the recent lawsuit against the company. Principal dancer Teresa Reichlen addressed the audience, joined onstage by her peers. Thanking the attendees for their support, Reichlen stated that she and the dancers "strongly believe that a culture of equal respect for all can exist in our industry."

Onstage, NYCB's trio of world premieres featured costumes by fashion designers Alberta Ferretti, Giles Deacon and Gareth Pugh. And at POB, the company's premiere of Ohad Naharin's Decadance included costumes designed by Chanel's Karl Lagerfeld.

Below, see some of the evening's major moments from NYCB and POB spotted on Instagram.


NYCB principal Tiler Peck (in Valentino) matched gala chair Sarah Jessica Parker (wearing Giles Deacon) in red.


POB quadrille dancer Naïs Duboscq was the epitome of glamour in a shimmery pink dress by Rochas.


NYCB principal Ashley Bouder and her daughter, Violet Storm, had the most adorable red carpet moment with their matching headbands.


POB étoile Dorothée Gilbert shared an up-close look at her classic red lip beauty look.


NYCB corps dancer Laine Habony looked like a modern-day princess in a tulle gown by Carolina Herrera (who previously designed costumes for the company's fall gala).


POB étoile Amandine Albisson shared a slideshow of the gala's seriously stunning decor (and her equally stunning Chanel dress).


NYCB soloist Indiana Woodward wore Alberta Ferretti onstage in Gianna Reisen's piece, Judah, and switched to another number by the designer offstage.

Latest Posts


Maria Kochetkova. Darian Volkova, Courtesy Kochetkova

Maria Kochetkova on How COVID-19 Affected Her Freelance Career, and Her New Home at Finnish National Ballet

When international star Maria Kochetkova embarked on a freelance career three years ago, she never envisioned how a global pandemic would affect it. In 2018, the Russian-born ballerina left the security of San Francisco Ballet, a company she called home for more than a decade, for the globe-trotting life of a guest star. Before the pandemic, Kochetkova managed her own performing schedule and was busier than ever, enjoying artistic freedom and expanding her creative horizons. This all changed in March 2020, when she saw her booming career—and her jet-setting lifestyle—change almost overnight.

After months of uncertainty, Kochetkova landed at Finnish National Ballet, where she is a principal dancer for the 2020–21 season. Pointe spoke with her about her time during the quarantine and what helped her to get through it, her new life in Helsinki, and what keeps her busy and motivated these days.

Keep reading SHOW LESS
DTH's Alexandra Hutchinson and Derek Brockington work out with trainer Lily Overmyer at Studio IX. Photo by Joel Prouty, Courtesy Hutchinson.

Working Out With DTH’s Alexandra Hutchinson

Despite major pandemic shutdowns in New York City, Alexandra Hutchinson has been HIIT-ing her stride. Between company class with Dance Theater of Harlem and projects like the viral video "Dancing Through Harlem"—which she co-directed with roommate and fellow DTH dancer Derek Brockington—Hutchinson has still found time to cross-train. She shares her motivation behind her killer high-intensity interval training at Studio IX on Manhattan's Upper West Side.

Keep reading SHOW LESS
Getty Images

As Ballet Looks Toward Its Future, Let's Talk About Its Troubling Emotional Demands

As a ballet student, I distinctively remember being told that to survive ballet as a profession, one must be exceptionally thick-skinned and resilient. I always assumed it was because of the physically demanding nature of ballet: long rehearsal hours, challenging and stressful performances, and physical pain.

It wasn't until I joined a ballet company that I learned the true meaning behind those words: that the reason one needs thick skin is not because of the physical demands, but because of the unfair and unnecessary emotional demands.

Undoubtedly, emotional and physical strength go hand in hand to some extent. But the kind of emotional demand I am talking about here is different; it is not the strength one finds in oneself in moments of fatigue or unwillingness. It is the strength one must have when being bullied, humiliated, screamed at, manipulated or harassed.

Keep reading SHOW LESS

Editors' Picks