Via @apollaperformance on Instagram

5 Non-Slip Socks for Contemporary Class

Oh, socks: What are we gonna do with you? Many dancers—ourselves definitely included—have a love-hate relationship with this unassuming member of the footwear family. On the one hand, they feel oh-so-essential for pulling off endless turns in contemporary class. On the other hand, we've heard our fair share of horror stories from fellow dancers of catastrophic slips that led directly to serious injuries. Then what's a dancer to do? We're so glad you asked.

Below are five of our favorite dancer socks that won't let you down (literally or figuratively).


Behold, comp kid Carter Williams rocking Apolla Performance's Infinite Shocks. Apolla Shocks come with traction that starts out feeling sticky but can be "broken in" to your desired level of slip versus grip.

For all the minimalists out there, ToeSox's Relevé Half Toe makes effortless turns, well, effortless—all powered by organic cotton and minimal fuss.

Don't let the humble appearance of Capezio Extends fool you. These machine-washable bad boys boast a polyurethane outsole that works on a variety of surfaces, while the stretch nylon/spandex fabrication miraculously maintains that elusive barefoot feeling.

Discount Dance Supply's Natalie padded turn socks in Cherry (via discountdance.com)

Headed to a convention weekend? You'll want to pack the Natalie padded turn socks from Discount Dance Supply. Their cushioned ball of the foot is the answer to the prayer of dancers faced with carpet's unforgiving nature as a dance surface.

Valentine Pajtler, a dancer and business student in southern France, is the perfect model for Repetto's anti-slippery socks. They're clutch for warming up and doing floor barre.

Latest Posts


Studio shots by Alinne Volpato

Jovani Furlan's Open-Hearted Dancing—And Personality—Lights Up New York City Ballet

Something magical happens when Jovani Furlan smiles at another dancer onstage. Whether it's a warm acknowledgment between sections of Jerome Robbins' Dances at a Gathering or an infectious grin delivered in the midst of a puzzle box of a sequence in Justin Peck's Everywhere We Go, whoever is on the receiving end brightens.

"I could stare at him forever," says New York City Ballet principal Megan Fairchild. "He's just that kind of open spirit. He's not judging anything. It's like he's looking at you with his arms wide open and a big smile—even if he's not smiling, that's the energy he's giving you."

GO DEEPER SHOW LESS