How Cloud & Victory Used Social Media to Become One of the Coolest Brands in Ballet
Tan Li Min working with Queensland Ballet dancer Lou Spichtig. Photo by Jovian Lim, Courtesy Cloud & Victory
Cloud & Victory gets dancers. The dancewear brand's social media drools over Roberto Bolle's abs, sets classical variations to Beyoncé and moans over Mondays and long adagios. And it all comes from the mind of founder Tan Li Min, the boss lady who takes on everything from designs to inventory to shipping orders.
Known simply (and affectionately) to the brand's 41K Instagram followers as Min, she's used her wry, winking sense of humor to give the Singapore-based C&V international cachet.
She recently spoke with Dance Magazine about building the brand, overcoming insecurity and using pizza as inspiration.
"When I was in law school, recovering from depression, I decided to try ballet. But looking at ballet clothing, nothing out there was really for adults.
"I decided to design my own ballet tops. And then I thought, Maybe other people will like them too! I thought, Maybe I'll do this for six months while I find a full-time job…and it just kept going and going."
"The ballet scene in Singapore is very small, so if I wanted Cloud & Victory to have a chance of succeeding, my clothing had to reach an international market.
"I didn't grow up as a dancer. I didn't know anything about running a business, or manufacturing clothing. The only thing I knew was the internet.
"Xander Parish posted a picture of himself and said it looked like he was reaching for pizza. And I was like, I'll run with it—I'll put pizza in your hand! I started to realize ballet doesn't have to be really proper. You can make jokes and laugh about it.
"At first, I was hesitant to put my personality into the social media. But not talking about the aspects of ballet that I love didn't feel authentic. So I started to put more of the things I find interesting or funny into it, and people started connecting with the brand."
"When I started out, there was this insecurity—and sometimes there's still remnants of this—because I'm not a professional dancer, so will people be able to relate? Am I accurately reflecting the experiences of dancers?
"The struggle is pretty universal. Dancers are human. Whether you're like me, with my horrible turnout and lack of coordination, or a principal dancer with ABT or The Royal, we all struggle with the same things. We're all trying to get better, and everything hurts!"
Mention "flamenco" to anyone in the Cuban dance scene, and they are likely to bring up Irene Rodríguez. Artistic director of Compañía Irene Rodríguez, Cuba's premiere flamenco company, Rodríguez has shared the stage with such renowned flamenco artists as Eva Yerbabuena, María Juncal and Antonio Gades. She is also a faculty member at Havana's Fernando Alonso National Ballet School, and has served as a choreography consultant at Ballet Nacional de Cuba.
Irina Kolpakova in the studio with Katherine Williams. Photo by Quinn Wharton for Pointe.
Being coached by a treasure like former Kirov prima Irina Kolpakova is an experience most dancers only dream of. But company members at American Ballet Theatre have been the lucky beneficiaries of her wisdom since 1990. Thanks to Instagram, where pros like Gillian Murphy and James Whiteside share snippets of their sessions with Kolpakova, any ballet lover can be a fly on the wall during rehearsals with the famed ballet mistress.