Blog

Several factors affect the selection of size and width for an individual dancer. Use the size conversion chart as a starting point only. You may find that the dancer needs a slightly larger or smaller size than you expected based on the chart.

Bear in mind that size and width interact with model, so that you should consider all three as you refine the fit. For example, a dancer might feel comfortable and supported in two different models. In a model with a narrower platform, she might need a wider width. In a model with a wider platform, she might need a narrower width.

Until you refine the fit, try not to use the drawstring, because a tightened drawstring can give the illusion of a good fit.

Factors to consider
Evaluate the compressibility of the foot. When the dancer points her toes or goes on pointe, does the foot become noticeably shorter or narrower? How high are the arches? Dancers with highly compressible feet may sink into the box or move around in the shoe when on pointe. Compressible feet, and very high arches, sometimes make it more challenging to find an appropriate, snug fit. Sometimes a compressible foot can be helped by heel pads, which take up a little bit of extra room when the dancer is on pointe and her feet need a tighter shoe, but flatten out when she is on flat and her feet need a roomier shoe.

Look for enlargement of the big toe joint (“bunion” joint). If the dancer has bunions, this joint will be enlarged and sometimes painful. Consider a wider width to accommodate the metatarsal area; if the dancer’s toes are very tapered, combine the wider width with a more tapered model (smaller platform). You may also consider adding spacers to align the toe joints and ease discomfort.

Spacers or toe pads can change the fitting of the toe box, so you might need to reevaluate width and/or model choice. Dancers who use thicker toe pads will need more room in the box, from wider width or a model with a fuller box.

For dancers who are in between sizes, experiment with width and vamp. For example, try a narrower width or higher vamp in the larger size.

For dancers with a significant size difference between her two feet (a quarter-size or more), fitting may be more difficult. Try to find a size that works for both feet. For the smaller foot, you may choose to add heel pads. Never fit to the smaller foot, allowing the larger foot to be in a shoe that is slightly too small. In extreme cases, the dancer may have to purchase two different sizes. Because pointe shoes are not shaped differently for left and right feet, she will be able to mix and match to create two pairs that fit her, without wasting any of the shoes she buys.

Learn about evaluating size and width.

Vamp shape
Russian Pointe pointe shoe models come with the option of either a V-cut vamp with no drawstring, or a U-cut vamp with an elastic drawstring. Each of these options provides slightly different support as well as a different appearance. As you choose a pointe model, take into account the dancer’s needs and preferences regarding vamp shape and drawstring.

V-cut vamps provide more support, security and stability for many dancers. Dancers with high arches sometimes benefit from the central V, which allows them to wear that supports the toes at the sides but doesn’t restrict the instep at the center. The V-cut also gives a classically elegant aesthetic.

U-cut vamps have a more contemporary, athletic aesthetic and expose more of the foot. The U-cut vamp includes a drawstring for refining the fit, which some dancers prefer.

Vamp length
Dancers may choose among three vamp lengths in each Russian Pointe model, without affecting any other feature or measurement of the pointe shoe. The medium vamp length (Vamp 2) is by far the most popular choice, and is the standard offering. Vamps 1 and 3 are available by special order.

Choosing a shorter/lower (Vamp 1) or longer/higher (Vamp 3) is based primarily on the length of the toes. In general, longer toes need a longer vamp than shorter toes. Choose a vamp length that fully covers the toes up to the metatarsal area, gives appropriate support, and doesn’t cause pain or restriction in demi-pointe.

Vamp choice is also affected by the shape of the dancer’s instep and her technical needs. Dancers who have trouble reaching full pointe may benefit from a lower vamp to allow more movement in the foot (as long as it covers the toes adequately). Dancers with very high arches or weaker or more flexible feet may prefer a longer vamp for more support. Dancers with very full insteps may find a longer vamp restrictive but need its extra support; for these dancers, experiment with different models and vamp cuts.

When the vamp is chosen correctly, it supports the foot without restraining movement. If the vamp is too low, there isn’t enough support and the dancer might roll forward on pointe. The dancer’s toes also show too much for an elegant appearance. If the vamp is too high, it cuts into the foot, sometimes painfully. Movement might be restricted, especially during roll-through, or the dancer might have trouble reaching full pointe.

Read about evaluating the initial fit.

Choose a model, size and vamp length based on your evaluations of the dancer’s feet (and worn pointe shoes, if applicable), experience and feedback, and the complete model descriptions.

Explain to the dancer that you are likely to try several pairs of shoes before finding the perfect fit, and that the “first-try” or “maybe” pair she’s about to try on will help you decide what to try next.

When you are trying a model with a drawstring, aim for a perfect or near-perfect fit before tightening the drawstring, because a tightened drawstring can give the illusion of a better fit than has actually been achieved.

Trying on shoes
The dancer should put on one pointe shoe at a time, with her foot and leg in good, straight alignment. The shoe should never be slipped on at an angle, and the dancer should not have to “wiggle” the shoe on (this would typically indicate the shoe is too narrow). Remind her not to cross her legs, and not to tuck her working foot under her seat. For a realistic, accurate fit, she should wear the toe pads that she will wear when dancing.

Evaluating the fit
When the dancer has put on both shoes, ask her to stand with her feet parallel. Check for an even and smooth appearance. If the shoe is gapping at the back, try a smaller size.

If the shoe is gapping significantly at the sides, try a narrower width or a different model. (Note that some dancers have such strongly diamond-shaped feet that you will see some gapping at the sides in any pointe shoe. Never solve this by giving the dancer a shoe that is too tight at the metatarsal area. Instead, help her learn to use her ribbons, elastics and drawstring, if any, to refine the fit.)

If the foot is puffing out of the pointe shoe, the shoe is too tight, because of either size or width. Try a longer or wider shoe, or a pointe model with a fuller toe box (higher crown and/or wider toe platform).

Questions to ask:

• Are your toes lying straight, next to each other without crossing or pinching? Are they lying flat on the insole of the shoe? (These indicate a good fit.)
• Are any of your toes crossing over? (This indicates that the shoe is too narrow; try a wider width or a model with a fuller toe box.)
• Can you move your toes from side to side, or up and down? (Toes should be able to move very slightly. If they can move significantly from side to side, the box is probably too wide. If they can move significantly up and down, the crown is probably too high.)

Learn more about evaluating size and width.

Size

Ask the dancer to plie in second position. Her big toe should touch the end of the toe box, without pressing against it or curling. Depending on the shape of her toes, she should also feel other toes against the sides or end of the box. (In thicker toe pads it may be harder for her to judge the placement of her toes.) She should not feel extreme or painful pressure on any toe.

Ask the dancer to stand in parallel and then place one foot onto pointe (with no weight on the foot). When the shoe is the correct length, you will be able to pinch a small amount of fabric at the back of the heel.

Choose a larger size if:
In plié, the longest toe is jammed against the platform or the toes are curled. On pointe, the heel remains too tight to pinch the fabric.

Choose a smaller size if:
In plié, the longest toe does not touch the toe platform. On pointe, you can put a finger into the heel area.

Width
The width of a pointe shoe primarily affects the fitting of the toe box. In the proper width, the shoe hugs the foot snugly. On pointe, the dancer should feel supported snugly and securely in the box. Although it might not feel exactly comfortable, especially to beginners, there should be no actual pain from the shoe.

If the dancer feels painful tightness, or if her feet aren’t properly supported, she needs either a different width or a pointe model with a different box shape.

Signs of a toe box that is too narrow or too tapered:

• The toes feel pinched.
• The dancer’s toes feel suspended or not reaching the platform, which she might describe as “not feeling the floor.”
• The fabric looks strained or the dancer’s foot is puffing out of the shoe.

Signs of a toe box that is too wide or too square:

• The dancer sinks into the toe box.
• The toes may veer to the side, so that the big toe feels jammed or stubbed.
• The pointe shoe may gap loosely at the sides, and you may be able to insert a finger into the box.

Read about choosing a shank and refining the fit.

Timing
When you are fitting Russian Pointe pointe shoes, you will typically choose the best possible shank toward the end of the fitting process, when the model and specifications have already been chosen. Sometimes, however, you will need to choose the shank earlier in the fitting. For example, with a dancer who has trouble getting all the way onto pointe, you may not see a good fit until she is wearing a lightweight shank (even if all the other specifications are well chosen). At the opposite extreme, a dancer who collapses on pointe may need a stronger shank from the beginning of the fitting.

Considerations

• Your assessment of the dancer’s strength and flexibility.
• The dancer’s foot structure and technical skill and experience.
• The dancer’s style (springing to pointe or rolling through demi-pointe).
• The purpose of the particular pair of shoes. Some dancers choose more or less flexible shanks according to how they will be using a particular pair (class, rehearsal or performance).

Shank strength
Bear in mind that different teachers have different philosophies about shank strength, especially for beginners. Some prefer more flexible shanks, so that dancers will build food and body strength by not relying on pointe shoes as a prop. Others prefer medium or hard shanks, so that dancers will build strength by pushing against the shank. Take care to consider the teacher’s preferences, and then use your best judgment about each dancer’s needs.

Generally, a dancer should never wear a shank that is harder than necessary for her individual technique and development. Stronger shanks should never be chosen because the dancer thinks they will make the shoes last longer. Instead, longevity will be best achieved with the right specifications for the dancer’s needs.

Pre-Arched Construction
Pre-arched pointe models are especially useful for dancers with very high or very low arches and those who find it difficult to reach full pointe. Dancers with high arches may find that the shanks in pre-arched models last longer because there is less structural strain during break-in. Learn more about pre-arched construction.

In a good shank choice:
The dancer is able to reach full pointe with her weight centered on the platform. She is able to “work” the shank according to her style and technique. For example, if she passes through demi-pointe as she rises to pointe, the shank will have the necessary flexibility. If she springs to pointe or works her shoes very hard, the shank will be strong enough to support her.

If the shank is too hard/strong:
The dancer may fall backward off pointe or balance too far back on the platform. There may be a “break” at the ankle: an angle at the front of the ankle instead of a straight vertical line or graceful curve.

If the shank is too soft/light:
The dancer may roll too far forward on pointe or collapse when she relevés.

Learn more about Russian Pointe’s array of shank choices:
Spotlight and Jewels shanks
Classic shanks

At a certain point during the fitting, you will have used your best judgment to choose the right model, size, width, vamp and shank for the dancer. Now is the time to focus on the fitting in as much detail as possible, to make sure that the dancer has achieved her best possible fit.

Ask the dancer to hold onto the barre and step onto pointe with both feet, in a comfortably turned-out first position. Continue to ask questions and make observations to ensure that the fit is correct.

Signs of a good fit on pointe
The dancer can feel the floor and feels supported. Her toes remain straight on pointe and she does not sink into the box. The box is holding the dancer snugly and securely, without pain. The dancer is steady on pointe, not wobbling or wiggling. Beginners may not balance easily, but should be able to stand fairly securely while holding the barre. The dancer is able to stand on the center of the platform, not rolling forward or backward, and not sickling (rolling toward the outside of the foot and ankle) or winging (rolling inward at the ankle so that the foot “wings” outward). Overall appearance is good; size seems snugly comfortable and supportive; shoe is aesthetically pleasing.

Questions to ask

• How does the box feel?
• Is there room for your toes to wiggle?
• Do you feel like you’re sinking, with your toes bending or pushing into the floor?
• Do you feel any pain?
• Is the box hugging your toes evenly?
• How much pressure do you feel in the box?
• Where do you feel the most pressure?
• Do you feel a lot of pressure on your big toe?
• Do you feel a lot of pressure on your metatarsal area?
• Does the box feel stable?
• Do you feel supported?
• Can you feel the floor without sinking?
• What do you like and dislike about this pointe shoe?
• Do you like this pointe shoe?

Choosing between two or more good fits
Sometimes more than one pointe shoe will fit the dancer well, so that it is challenging to decide between them. Ask questions about every difference between the pairs to help the dancer choose. Include function and aesthetics, as well as comfort and support, in the evaluation. If she can’t decide, and she is an intermediate or advanced dancer, she might want to buy both pairs and decide which she likes best after dancing in both.

When every shoe looks good
Dancers with especially “good” feet may look great in every pair they try on. This makes it more challenging to judge fit based on appearance. Make sure to ask detailed questions about how the shoes feel.

The toe box is the part of the pointe shoe that holds the toes. Along with the shank, the box provides the support dancers need to balance on their toes while dancing.

When dancers first rose to full pointe, the only support they had was stiffening (originally from a type of sewing called “darning”) around the toes of their slippers.

Modern toe boxes are much more supportive! The box, firm yet malleable, is made of layers of fabric and glue, molded carefully and precisely by a skilled cobbler to be supportive and smooth, without lumps that could be felt on the inside or seen on the outside.

At the end of the box is the platform, the surface on which the dancer stands on pointe. Here, too, precise molding is needed so that there aren’t any bumps that could throw the dancer off balance.

Toe boxes are made in different shapes, to fit differently shaped feet, and different amounts of coverage of the feet. When they rise higher around the sides of the forefoot, they are said to have “wings.”

As the pointe shoe is worn, the warmth and moisture from the dancer’s feet cause the glue to soften so that the box molds to the shape of her toes. When the box has softened enough to lose its supportive qualities, it’s time for a new pair of pointe shoes.

Some teachers use demi-pointe, or shankless, shoes for pre-pointe training. Demi-pointes have a shaped box like a pointe shoe, but no stiff shank in the sole.

Wearing demi-pointes gives dancers a more gradual transition from ballet slippers to pointe shoes. They can get used to the feel of a pointe shoe before learning to dance on pointe.

To accommodate dancers’ different foot shapes, Russian Pointe offers two models of demi-pointe shoes, Almaz and Rubin. For each model, dancers can choose between a U-shaped and V-shaped vamp.

Dancers should use demi-pointe shoes only according to their teacher’s instructions, and they should never attempt to stand or dance on pointe in a demi-pointe shoe.

You can usually expect about 12-15 hours of wear from a pair of pointe shoes. To get the most out of that lifespan, follow some basic care principles. Because they are made of natural materials, most pointe shoes break down when wet. Use a mesh bag outside her dance bag to carry her shoes after class. (Some dance bags come with external mesh bags for this purpose.) Remove toe pads immediately after use and store them separately from her shoes. Shoes must never be squashed, and they should be set out to air-dry thoroughly between classes, ideally for at least 24 hours. When dancers wear pointe shoes daily, they often alternate pairs so that each pair has time to dry completely before being worn again. Read more about replacing pointe shoes when they no longer provide proper support.

Because they fit so precisely, pointe shoes must be replaced more frequently than street shoes.

A new pair is needed when:

• The feet grow so that the shoes are uncomfortably tight.
• The foot shape changes so that the dancer is no longer supported properly and comfortably.
• Technical development changes the dancer’s needs in the shape or shank strength of the shoes.
• The shoes begin to lose their supportive qualities.

Importance of replacing shoes
The feet and other parts of the body can be damaged when a dancer wears shoes that are too tight, no longer match the shape of her feet, or no longer provide proper support. Signs of worn-out shoes include lack of support in the toe box or platform and over-flexing in the shank.

Looks aren’t everything
Be aware that appearances can be deceiving; a shoe might look almost new but be structurally worn out, or appear dirty and worn but still be fully functional. The teacher or fitter can help determine if they are still wearable.

How often do I need new shoes?
With only a short time on pointe each week, many beginners can wear a pair of shoes until they are outgrown, and they may need only a pair or two in the first year. At the opposite extreme, many professionals wear each pair only once! Pre-professional students typically need one or two pairs per month, so parents of serious dancers should be prepared for frequent replacement.