“Gaynor Mindens have affected my work artistically by expanding my conception of what is possible expressively on pointe. My company performs exclusively with live music, often with intimate chamber scores. Because Gaynors are a whole order of magnitude quieter than any competing shoe, I find that I can set all kinds of steps — petite allegra, taqueté, échappés — to even the quietest passages of music without, so to speak, adding percussion parts to them that the composer did not write.
While the shoes have obvious advantages for the dancer — their superior comfort and fit conduces healthy technique — their advantages for the choreographer are impressive, too. Their astonishing durability and consistent performance makes Gaynor a most cost-effective investment — they save a lot of money.
Even more important, Eliza Minden to my mind is not only an engineer and designer of genius, but an artist. In Eliza you encounter the same questing, never-satisfied spirit, the same desire for the ever elusive goal of perfection, that I recognize in the great dancers and choreographers I admire and whose integrity I stove to emulate in my work. I think Eliza and John are brave, too: it takes courage to fulfill the promise of a tradition in a way that may look like upending it — there will be some who don’t understand at first what you’re doing. Gaynor Minden pointe shoes continue to expand my idea of what is possible. All the women in my company are “Gaynor girls” now, and I wouldn’t have it any other way.”
-Christopher Caines, March 2010
Photo by Shannon Hennigar.