I’ve covered Gaynor Minden pointe
shoes before, but it’s been a while. I
have received a few questions recently about why Gaynors are so controversial,
so it’s time to delve into the issue again.
Just as a reminder, Gaynor Minden
pointe shoes are different from “traditional” pointe shoes because the box and
shank are made of durable, flexible plastic that does not degrade. Gaynor pointe shoes do not soften with each
use, so they cannot be “worn out.”
People tend to either love or hate them, and dancers regard Gaynors as
everything from “the greatest innovation in pointe technology” to “cheater
shoes.”
Here are some FACTS (not opinions)
about Gaynors, organized into a pros and cons list.
Pros:
--Lasts a long time
Because Gaynor Minden pointe shoes
are made with plastic shanks and boxes, they don’t get softer with each use. This allows dancers to use the same pair for
a long time (months to years, in most cases).
Gaynor shoes are not completely indestructible, though. It is possible to snap the shank (especially
in cold, dry climates where plastic gets brittle over time), which will destroy
the shoe. Gaynors also need to be
replaced if the satin wears off the platform (this exposes the plastic of the
box and creates a huge safety hazard—it’s really slippery). Gaynors are more expensive than traditional
pointe shoes ($120 or so a pair; most “regular” pointe shoes cost about $75),
but if they need replacing less often, it can save money in the long run.
--Lots of sizing and customization
options
Gaynor provides a large range of
ladies’ sizes (5-12), 3 widths, 4 box shapes, 2 vamp types, and 2 heel types,
as well as 5 shank strengths. Shoes
ordered directly from Gaynor Minden can also be made of special slightly
stretchy self-smoothing satin and have suede tips applied to the platforms. “Fit kits” can be purchased and applied to
the inside of Gaynors to further customize the fit by adding additional padding
for dancers between sizes. Because of
all of these options, it is possible to achieve a very good fit for almost all
feet.
--Comfy and injury-preventative
Gaynors are made with light padding
built in, so many dancers wear them without toe pads or with only very thin
padding. This can be very convenient as
it requires dancers to keep track of less gear and have a more “intimate”
feeling of the foot directly in contact with the shoe. The padding inside the shoe and soft foam
built into the pleat-area and heel also absorbs impact, which can lead to fewer
“jarring” injuries like jammed/bruised toes and heels.
--Quiet
Because of the plastic and foam materials
in the boxes of Gaynor Minden shoes, they are very quiet on stage and don’t
make loud “clomping” noises when they come down on the floor.
--Easier to “get over” the box and
“roll through” than traditional shoes
Because Gaynors are constructed
with a pretty low wing and vamp and the shank is pliable, they are easier to
“get over” than other shoes. Dancers can
usually rise to full pointe in first position and get both platforms fully on
the floor with no problem. This is quite
helpful to people with inflexible feet and ankles who normally struggle to get
all the way up on a shoe. Very young
dancers, mature dancers, and recreational dancers can sometimes find more
success in Gaynors than other more traditional brands. The resilient shanks also make “rolling
through” from flat to full pointe very easy with little resistance. Controlling the shoe for a slow “roll
through” requires more effort, strength, and articulation (all great things to
build).
Cons:
--Difficult to fit and hard have
access to all sizing options
Gaynor Minden does have a flagship
store in NYC. Dancers can get expert
fittings with access to nearly every size/width/box/vamp/heel/shank combination
that the brand offers. Because there are
so many options, most local dancewear stores and online stores (including
discount dance) stock only some combinations.
In order to access the full run of Gaynor’s offerings, dancers often
must order online without seeing the options in person first. While getting a perfect (or at least very
good) fit is usually possible, it is very difficult to obtain.
--Even with the multitude of
options, a few things are missing
Gaynors come in widths N, M, and W,
which are approximately equal to XX, XXX, and XXXX or 2-width, 3-width, and
4-width in other brands. Dancers who
require a 1-width or 5-width or wider are not well accommodated in Gaynors
without exceptional customizations.
Also, even sleek-vamp Gaynors have just a medium-low crown, so dancers
with very shallow feet often experience gapping in the crown. Sometimes a fit kit or toe pad can fix this,
and sometimes not. Dancers with very
wide and “thick” feet generally do better with a high vamp and high wing. Gaynors in all sizes, widths, and other specs
have low wings and medium-low vamps, so these dancers may experience
“spillover” (the foot bulges in the shoe and looks lumpy) and feel smushed or unsupported.
--Padding prevents some dancers
from feeling the floor
Some dancers (generally those who
are used to little to no padding in traditional paste shoes) find the padding
built into Gaynors to be too much. It
can sometimes prevent a dancer from feeling the floor with her toes, which is
something most dancers want for balance and control.
--Addictive/weakening when not used
properly
The resilient shank in Gaynor
Minden shoes can be tough to understand and use properly. Even the hardest shank is not that hard
(about as hard as a brand new flexible medium shank—think Capezio Tiffany
Pro—in a traditional shoe). Dancers must
pull up and concentrate hard to work the shoes and not have the shoes work
them. It is very easy to sit en pointe
and spring or quickly roll from flat to pointe; it is a lot more difficult to
slowly roll through the shoe. Dancers
who work the shoes properly have a lot of success. Younger dancers and those with less training
tend to sit in the shoes and allow the shank’s springiness to work for them
without controlling it (because it is easier and looks the same as the harder
roll through to the untrained eye).
People who do this for a long period of time can lose foot strength and
flexibility, which makes it more difficult to go back and use a traditional
paste shoe. This is also why many
teachers do not like pointe students to use Gaynors. Those without thorough training may develop
bad habits when they begin to use the resilient shoe. (Note that dancers with solid training and/or
careful technique can develop and maintain strength and flexibility with
Gaynors.)
--Not allowed at some studios, etc.
Gaynors are very different from
traditional paste pointe shoes. Some
people believe that dancers must work through pain and use only traditional
shoes with wool padding in order to be “real” ballet dancers. It’s possible that some people with this
mindset do not fully understand Gaynors, or they may understand the shoes very
well and still stick to their guns.
Because some people have this belief, Gaynors are not allowed at some
schools, intensives, and companies. This
may or may not be a fair judgment, but that does not change the fact that some
directors and teachers will ask dancers not to wear Gaynors.
Now that you’ve seen the
black-and-white information, here’s my opinion (which I like to think is
balanced, educated, and worth following).
Gaynors work well for some people, and not so well for others. While it is possible to get a Gaynor with an
excellent fit for most feet, that does not mean that a Gaynor will be
everyone’s favorite shoe. It is also
possible to achieve a perfect fit for almost every foot type with a Grishko,
and that does not mean that Grishko is everyone’s favorite brand of shoe. I have an expertly fit pair of Gaynors that I
occasionally use for home practice when my injured ankle is bothering me. The soft, resilient shank gives me great
success in pointework without straining.
I like my Gaynors, but they are not my favorite pointe shoes. I still prefer Grishko 2007s, Novas, and
Dreampointes; maybe that is because I have been wearing Grishko for most of my dance
career.
I believe that first-pointe dancers
should not use Gaynors unless no other suitable shoe can be found. I think it is best for young students to
learn a foundation of pointe skills in a traditional paste shoe (and
appropriate toe pads) that allows them to fully feel the floor, challenges
roll-through, and wears out over time. I
see this as both crucial to skill development and as a beautiful rite of
passage.
After a dancer becomes strong in
the basics, Gaynors are a wonderful option to remedy pain, last longer, and
enhance performance. It must be the
dancer’s choice if she wants to use Gaynors or not. If a dancer uses Gaynors, I think it is
helpful for her to also sometimes work in a traditional shoe so she remains
used to the feeling if she is required to use a traditional shoe for a certain
intensive or performance.
Retired professionals and dancers who begin
pointe later in life can often be very successful in Gaynors if they want to
start or continue dancing recreationally at an advanced level. Gaynors look gorgeous, perform well (on stage
and off), and do not strain joints and muscles.
Overall, Gaynors are great
shoes. They are not perfect for
everyone, and some people remain prejudiced against them. Even so, their benefits are many and are
often worth a try when a dancer is skilled enough and ready for a change.
