This fast-fashion approach may be easy on the purse strings – but what these sites don’t show is the specialist training needed before you even step into pointe shoes, or the risks to aspiring dancers. Such is the concern that there has been a growing call from the ballet community who believe stricter regulations are needed to protect dancers. 

Like many trends, the influx of bargain pointe shoes has its origins on social media. While social media has fuelled a passion for ballet and created a supportive online community, it can also set unrealistic expectations. ‘Having properly fitted shoes is very important, especially when you are doing pirouettes. If your shoes aren’t right, it shows in your performance,’ Xanthe Knott, 18, who studies on the BA (Hons) Ballet Education programme at the RAD. ‘Kids see people wearing them on TikTok. They look up to the older girls and when you see such cheap pointe shoes, it’s hard to resist.’

‘Everyone wants instant results,’ she continues. ‘We are used to seeing fast fashion online and don’t realise that you can’t do that with pointe shoes. Trained dancers know those photos are unrealistic, but other people may see “self-taught” dancers and think they too can learn from YouTube – you don’t know what’s real and what isn’t.’ 

Social media trends such as #BalletTikTok can encourage content creators to push boundaries in search of views, often putting themselves – and their followers – at risk. ‘Social media is definitely a big influence,’ says Madison Farmer, 18, also taking the BA (Hons) Ballet Education at the RAD. ‘There’s a Swan Lake trend on TikTok – when something goes viral, younger dancers see it and want to try.’

Farmer says she has seen people on social media dancing on pointe ‘in regular shoes and trainers. They have to push the boundaries to get views – if they don’t do something extreme, nobody will watch. Professionals will often comment saying it’s dangerous but get loads of replies saying: why are you hating on other dancers?’

Pointe shoes are a huge investment – in terms of money, but also time, dedication and training. This is truly a journey, involving teamwork between the young dancer and their teacher, but also retailers. ‘Teachers are really vital in this journey,’  says Janine Streuli, Acting Director of Education at RAD, ‘especially in terms of managing expectations and educating students. There is a lot of preparatory work that teachers should do before students get pointe shoes.’

The teacher’s role is crucial. ‘My teacher, Miss Lauren, educated us about pointe shoes from the start, says Alisha Masud, 13, who has just completed her Grade 4 exam at Motion Arts Ballet. ‘We do extra training and exercises with therabands, but we have also been learning about shoes and how to break them in. She would never let us wear pointe shoes until we are ready.’

A student’s readiness for pointe work is assessed by their teacher and depends on their growth, physical strength and technical development. They should have correctly mastered rising onto the demi-pointe with strength and control whilst maintaining turnout and the correct alignment of the torso, legs and feet. Pointe work is first introduced in the RAD syllabus in Intermediate Foundation – to take the examination, candidates must be at least 11 years old within the year of entry. The RAD would always advocate for a professional fitting to ensure a tailored fit and encourage safe dance practice.

As dancers push themselves online, this can also have offline implications and fuel peer pressure. Kathryn Kilbane’s daughter Esme, 12, has been performing in competitions since the age of five. ‘When Esme was 10,’ Kilbane says, ‘her friends, who are twins, got their first pointe shoes. Their mother wanted a school that would push the girls harder. Esme and I talked it over and she understands that it’s a journey, not a race.’

Even seismic political events can impact shopping for pointe shoes. ‘The Russia/Ukrainian conflict has definitely impacted the availability of Russian-made pointe shoes,’ says Sophie Simpson, Senior Manager at Freed, a leading brand. ‘Globally, many countries have introduced either high duty charges or a complete moratorium on importing Russian goods. This has made accessing Russian made pointe shoes difficult for many people.’

‘People have always had opinions, but may be more influenced by information online,’ says Streuli. ‘Online videos of young children dancing on pointe are of concern – from a safeguarding perspective and in setting up unrealistic expectations among other young dancers.’

Such unrealistic expectations can impact the relationship between fitters and dancers, explains Kayon Cummings, a professional pointe shoe fitter at the RAD’s shop at its London headquarters in Battersea. ‘People don’t always realise that you can’t just walk off the street and buy pointe shoes. But it is not advisable to buy online without being properly fitted first, especially for first time students. Parents think it’s cheaper and convenient, but you don’t know if they are safe. If you don’t try them on, you are shopping blind.’

As I saw when I visited the RAD shop, going to a specialist retailer is all about the fitting process. Often teachers will accompany students to a fitting, as they understand both the process, but also the needs of their dancer. Specialist fittings can take between 25 minutes to an hour for a first time dancer. Fitters like Cummings will check every part of the shoe from the vamp to the box, in various positions – such as plié in second when your foot is at its longest and widest. Only then, when the fitter has assured a good fit, will dancers step onto pointe to make sure it’s the shoe for them.

Does Cummings recognise when a dancer is prepared to go on pointe? ‘You can tell when somebody is ready, they are familiar with the vocabulary,’ she says. ‘You need to be able to explain how the shoe feels when trying it on. With parents, we need to manage their expectations. One of my first questions is always “was it recommended by the teacher?” I had one student whose previous fitting wasn’t done properly and damaged the toe. Another girl came with her dad and needed shoes quickly – he was forcing a pair on her because they were short on time. As fitters, while we can’t say no to someone, we can strongly advise them.’

Specialist retailers have a duty of care to their customers, the RAD team argues – but things might differ in the online marketplace. Kat, who didn’t wish to give her full name, shared her experience: ‘My dance class was very competitive. Each week, our teacher picked which students were ready for pointe shoes and, if I’m honest, she encouraged the competitiveness. It felt like everyone else was getting picked except me. I’d watch TikToks of dancers on pointe and thought: I can do that. 

‘An advert came up on my phone for pointe shoes, and I just clicked. I thought I’d train at home and prove everyone wrong. I ended up falling and damaged my ankle. I couldn’t go back to class for a year and there was no point going back after that because I would have been held back while everyone else moved up.’

Buying pointe shoes isn’t like popping into a shop to buy a pair of stilettos. ‘We have fashion trends even within the ballet space – for instance, from high leg to low leg leotards,’ says Sue Bacchus, Head of Trading at the RAD. ‘But fashion trends are for leotards and outerwear, not for pointe shoes. The priority of a retailer should be what is best for the student, not simply making a sale.’ As Cummings argues, ‘some places may be rushed or will push you towards a certain brand. For us at the RAD, the fitting takes as long as it needs.’

Alia Waheed is a freelance journalist and ballet mum who has written for a variety of national newspapers and magazines.