Tim Heathcote knows a thing or two about dance. He studied at The Australian Ballet School and is a former soloist with Sydney Dance Company. He has designed for international dance retail companies, is the CEO of MDM Dancewear, and the co-founder of The Library Aesthetic Dance Media. He has a lot to offer and shared his story with Dance Informa.
What is your dance background?
“I started dancing at the age of three. My mother is a dance teacher, and still is, at the age of 82. It was something that our whole family was involved in. I attended The Australian Ballet School and then danced with Sydney Dance Company for six years.”
What was your professional career like?
“Sydney Dance Company was relatively small with about 24 dancers. We could easily travel and perform, and it was an incredible experience for everyone. The downside was that there weren’t options when it came to replacing injured dancers. Pressure was high, and we had to push through regardless of any issues. As a classically trained dancer, the unusual movements, style and partnering were often quite taxing on the body. I suffered a failure in my back while partnering during a rehearsal. The strain and load on my back were enough to crack a rib and cause an annular tear in the T12 disc. I spent 18 months trying to rehabilitate, but the choice came down to either spinal surgery or retirement. I chose to leave dance.”
Did you always want to design?
“I was always interested in art and design, and while I was a professional dancer, I trained myself to use design software programs like Adobe and Maya for 3D modeling and animation. I never formally trained as a designer but still managed to pick up work developing marketing and packaging. I even did some building and animating 3D models for a short time after retiring from dance.”
You designed shoes for Bloch and Capezio. How did you start working for them?
“After retiring, I worked with Greg Barrett on his book, Tutu. I was supposed to drive the dancers of The Australian Ballet from the Sydney Opera House to the photo shoot and back. I ended up helping choreograph the shoot, and one of the dancers was related to the Bloch family. I ended up as the choreographer for Bloch’s photo shoots. Bloch’s owner, David Wilkenfeld, invited me to join, and I became the footwear brand manager. Bloch hired me because I knew what a dancer needed to be able to perform, not because I knew how to make a shoe — which I didn’t! David really took me under his wing and taught me the footwear business. I moved over to Capezio as their footwear designer and continued to sharpen my skills. The biggest lesson I learned at Bloch and Capezio was finding a compromise between a dancer’s wants and needs and what is practical in manufacturing and distribution.”
Your shoe designs are thoughtful, meaning that they are what the dancers need. Can you comment on your process?
“At Bloch, I managed the custom pointe shoe operation. I fit professionals, worked with them to build custom solutions, and then translated those designs to a pointe shoe maker. In the space of six years, I fit and designed over 5,000 custom pointe shoes for professionals in 50 dance companies. This unique experience taught me to manage the expectations of both the dancer and the pointe shoe maker. As a former dancer, I am able to close my eyes and picture myself moving while contemplating a design idea.”
What did you do after you worked for Bloch and Capezio? Why did you start your own company?
“After Capezio, I wanted to put everything I had learned into my own company. I launched MDM Dancewear in 2012 with my wife, former ballerina Simone Goldsmith. I wanted to develop a ballet shoe that was free from any preconceived ideas or traditions. MDM exists to create smart dance footwear that functions to prevent injury and build core strength. Everything I’ve learned over a lifetime as a dancer has been poured into the products that bear the MDM logo.”
Can you talk about the challenges of starting your own company?
“Cash flow is a big one. Having enough money to grow the business and produce all the wonderful ideas from your team of creatives is the biggest challenge. We often find ourselves sitting and staring at prototypes that we know are incredible, waiting while we build enough capital to justify the production costs. It can be extremely frustrating, but it’s a part of running a business that we must accept. Another challenge is general engagement in dance safety, an important idea that we have built our company around. We work closely with experts in dance medicine and attend incredible events like the International Association of Dance Medicine and Science (IADMS).”
What advice would you give to a dancer looking for a second career in dancewear design?
“There are two types of dancewear companies. Company A develops products that are no different from their competitors. Anyone could be a designer at Company A because they don’t need any experience in the field. Most dancewear companies are Company A, which is why we haven’t seen much change in product design in 200 years. Company B wants to enact change and can see a better way of doing things. In this scenario, it is important for an apparel and footwear designer to be a dancer. Skills that place a resume at the top of the pile are: dance career, industrial design, project management. Some luck is involved when seeking a career in dancewear design because there is no formal training or clear career path. The company needs to be prepared to nurture potential and train the unique (and often secret) skills required. There is no better person to hire, for any job, anywhere in the world, than a dancer. The focus, intelligence, initiative, and dedication to teamwork that it takes to be a dancer are completely transferable to any career and are extremely prized by an employer. If there are dancers out there that are finishing up their careers, or don’t even plan to start a dance career, they need to realize how valuable they are.”
Those are astute words from Tim Heathcote, and we can’t wait to see what he comes up with next. MDM dancewear can be found at mdmdance.com
By Mary Carpenter of Dance Informa.
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