Why the Balletcore Trend Triggers Outrage in the Dance Community

Walk through the Upper West Side on a Tuesday afternoon, and you’ll see it. It’s not just the professional dancers gliding toward the Lincoln Center for the Performing Arts with their gear bags slung over their shoulders; it’s the “balletcore” wave hitting the sidewalks of Manhattan. From the boutiques in SoHo to the curated feeds of every influencer in Brooklyn, the aesthetic of the barre—ribbons, tulle, and wrap sweaters—has migrated from the studio to the street. But for those who actually live in the grueling reality of the dance world, this trend feels less like a tribute and more like a costume party where the guests forgot to invite the hosts.

The Friction Between Aesthetic and Agony

The recent storm surrounding the Skims and Nike collaboration, featuring BLACKPINK’s Lisa, is the perfect case study in this cultural friction. On the surface, it’s a high-fashion fusion: a pop icon, a sportswear giant, and a shapewear mogul blending “balletcore” into a commercial product. But for the dance community, the reaction was visceral. The “balleternet” didn’t just critique the fashion; they mourned the appropriation of a culture defined by “violence of effort.” When you see a promo choreographed by Sergio Reis and Malou Linders that prioritizes the *look* of ballet over its technical rigor, it feels like a dilution of identity.

This isn’t just about polyester leotards or whether a pop star is doing “hip hop at a barre.” It’s about the gap between the image and the investment. In a city like New York, where the NYC arts scene is a pressure cooker of ambition and discipline, the “core” suffix—adding it to everything from cottagecore to gorpcore—strips the soul out of the practice. Ballet is not a “vibe”; it is a centuries-old language of codes, unwritten values, and physical sacrifice. To turn that into a trend for the masses is to treat a lifelong discipline as a seasonal accessory.

The “Dying Art” Narrative and the Celebrity Lens

The tension only tightens when celebrities weigh in on the viability of the art form. In March 2026, Timothée Chalamet sparked a wave of online backlash after suggesting that “no one cares about the ballet or opera anymore.” While some dismissed the ensuing outrage as “fake” or “overblown” on platforms like Facebook and Instagram, the comment hit a nerve because it framed ballet as a relic rather than a living, breathing entity. When a celebrity suggests the art is dying, and then a brand like Skims sells the *aesthetic* of that art, it creates a paradoxical loop: the art is “dead,” but its wardrobe is highly profitable.

However, there is a counter-argument that we can’t ignore. As Li Min Tan points out, commercialism can be a gateway. For some, a pair of criss-cross ribbons might lead to a first ticket for Swan Lake at the American Ballet Theatre (ABT). The survival of ballet depends on visibility. In an era where funding for the arts is perpetually precarious, the influx of new audiences—even those initially attracted by a Kardashian-adjacent trend—can provide the financial oxygen necessary for professional companies to survive and for dancers to earn a living wage.

The Paradox of Inclusion and Exclusivity

The real struggle for the modern dancer is wanting the art form to be inclusive without losing the exclusivity of the skill. We want the doors of the New York City Ballet (NYCB) to be open to everyone, regardless of race, gender, or socioeconomic background. We support the tireless work of activists like Phil Chan and Georgina Pazcoguin in “de-Orientalizing” the stage, challenging the Eurocentric strictures that have long plagued the industry. But there is a difference between institutional inclusion and aesthetic appropriation.

When ballet becomes “balletcore,” it often ignores the systemic inequities—the racism, sexism, and exploitation—that actually need addressing. It’s easier to sell a tulle skirt than it is to dismantle the exclusionary history of the corps de ballet. The frustration felt by the community isn’t necessarily aimed at the person wearing the ribbons; it’s aimed at a capitalist system that commodifies the “look” of the struggle while ignoring the struggle itself.

Navigating the Trend in the Five Boroughs

For those of us living and working in New York, the intersection of fashion and dance is unavoidable. We see it in the way street style evolves and the way local studios are suddenly flooded with “hobbyists” who have seen the trend on TikTok. While the dilution of identity is a valid fear, the reality is that dance is an evolving organism. From the experimental works at the Joyce Theater to the street-fusion happening in Queens, ballet is constantly being redefined.

The goal shouldn’t be to gatekeep the aesthetic, but to ensure that the essence of the art is preserved. Whether someone is a professional at the Metropolitan Opera or an adult beginner in a community center class, the act of dancing is a personal communion. The ribbons are just fabric; the dance is where the identity actually lives.

Local Resource Guide: Supporting the Dance Community

Given my background in geo-journalism and local advocacy, I know that when global trends like “balletcore” hit a city like New York, they create specific needs for both the professionals and the newcomers. If you are navigating the world of dance in NYC—whether as a seasoned pro or someone inspired by the aesthetic to actually start training—you need more than just a trendy outfit. You need specialized local support.

Here are the three types of local professionals Consider seek out to ensure your engagement with ballet is sustainable and respectful:

• Dance-Specialized Physical Therapists: Don’t go to a general clinic. Look for practitioners who hold an OCS (Orthopaedic Clinical Specialist) or SCS (Sports Certified Specialist) designation with a documented history of working with professional dancers. They understand the specific biomechanics of a plié or grand jeté and can prevent the injuries that often plague those jumping into rigorous training without a foundation.
• Custom Dancewear Tailors & Couturiers: Beyond the mass-produced “core” collections, NYC has a rich history of specialized tailoring. Look for artisans who have experience creating costumes for major companies like ABT or NYCB. These professionals understand the technical requirements of movement—where the stretch needs to be and how a garment must support the body during extreme extension—which is something fast-fashion brands completely ignore.
• Inclusive Arts Educators & Mentors: If you’re looking to move beyond the aesthetic and into the art, seek out educators who prioritize DEI (Diversity, Equity, and Inclusion). Look for mentors associated with non-profit arts organizations that focus on accessibility and breaking down the “elitist” barriers of classical dance. They can provide a pathway into the community that is based on growth and respect rather than just appropriation.

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