CREATING a platform is no mean feat, but making it look effortless with her impassioned project is Isabella McGuire Mayes with ISABELLA. Gently ushering us into her evocative world with emotional-driven contents and heart-warming creative notions, the dancer – who trained at The Royal Ballet and later at the famed Vaganova Academy – aims to reshape dance’s traditional training with her platform.
Touching on everything from early stints to self-discovery, the artist takes GLASS on a compelling journey for her latest venture, putting her raw and honest story on full display. “I wanted to create a community and a following that looked behind the curtain,” Mayes reflects.
“I wanted to share all the ups and downs, and get other world-renowned dancers and experts to share their trials and tribulations too. The minute you hear from others you look up to, about how they struggled and how they got through the hardships, you don’t feel alone anymore. When you don’t feel alone, you feel hope.” But there’s more to the story, which you’ll probably read here first. You’re welcome.
Photographs: Simone Steenberg
Hey Isabella! First things first: could you introduce yourself to us?
Hi! I’m Isabella, a ballet teacher obsessed with making ballet make sense, in a space that builds confidence in and out of the studio. I’m the founder of ISABELLA, which some people will know by its former name, Ballet With Isabella. I trained at The Royal Ballet School before moving to St. Petersburg at fifteen to study at the famous Vaganova Ballet Academy, where greats such as Nureyev and Baryshnikov studied.
I went on to dance with the Mikhailovsky Ballet and Eifman Ballet. These days, my time goes into my business, teaching dancers all over the world through our online studio and in-person intensives around the world. I host a podcast, A Dancer’s Mindset, helping dancers reach their full potential, because without a strong mind, it doesn’t matter how talented you are. I’m also all over social media, giving tips and insights to help people improve in a fun and engaging way.
Photograph: Simone Steenberg
Photograph: Simone Steenberg
And now tell me: how has the past year been for you?
Honestly, it’s been the busiest and most rewarding year yet. We completely rebranded and rebuilt our platform from the ground up, with three new membership tiers- Studio, Ensemble and Prima- so dancers can choose how they want to train, with the option of a personalised training plan matched to their goals, experience and the time they have, from plans I’ve built myself. We also launched the ISABELLA Associates, a selective programme for pre-professional dancers with only twelve places, which is something I’m really proud of.
In the studio, we ran four weeks of summer intensives in London, and we’re heading straight into our winter intensives in November, so there’s barely been time to breathe! We also ran two luxury ballet retreats in Marbella with 21 dancers. The community we’ve grown is so special. The dancers keep coming back, and seeing old friends reunite and new ones be welcomed straight in means so much to me.
It’s a reminder that ballet can feel quite solitary, but in the right environments it really doesn’t have to be. I’ve also just got back from Los Angeles, which was a mix of business and pleasure, and while I was there I recorded a very exciting podcast that’s coming out later this year. It’s been a year of building, and I can feel it all starting to take shape. It’s really exciting.
Your Vaganova training must have shaped your dance practice so immensely: what was it like growing up as a dancer, and studying in one of the world’s most coveted academies?
Yes, absolutely. It’s a place where legends are made. I learned what hard work really is, and that if you have the right support around you, and above all, the belief that you’re capable of the growth you desire, you can reach standards and heights you deemed not even possible. I had teachers who were tough for sure, but also incredibly nurturing. I take that hard work and pushing people’s potential into my own teaching, whilst creating a space that builds confident dancers.
Photograph: Simone Steenberg
Did you have any particular influences while growing up?
Yes! It was funny at school growing up. I was at ballet school in London, and we had these correction books where we had to write down all our mistakes and learnings from ballet class. On the front we were allowed to stick pictures of our favourite ballerinas. Most people had lots of British ballerinas.
I had Darcey Bussell, who was a star of The Royal Ballet, Sylvie Guillem, who was a Paris Opera étoile and later an international star, and then lots of Russian ballerinas, Diana Vishneva and Svetlana Zakharova, to name a few. That was when my teachers looked at me and said, “I think you’ll have an international career.” They weren’t wrong! The hours and hours I spent watching YouTube videos of all these ballerinas helped me manifest and visualise the type of dancer I wanted to become and where I wanted to go.
Speaking of downturns, mental health or circumstances you felt somehow hindered your path: did you have moments when you felt down or not “enough,” to the point you wanted to pivot careers? Also, while studying, were you guided and supported by the right mentorship schemes?
There were so many times I felt down. Ballet is very hard. It requires total and utter devotion from dawn until dusk, and switching off was very difficult. We were constantly chasing improvement, growth, and being better every day. There was definitely an air of sink-or-swim with my generation. We were often thrown into things and expected to just get on with it and see if we survived!
I definitely missed the mental support side of things. I think with that support, like athletes seem to get more of, I would have enjoyed the process a lot more. This is one of the reasons it’s my passion not only to provide environments that cater to mental confidence, but also why I have my podcast, A Dancer’s Mindset, helping dancers, athletes and artists have the tools and mindset to succeed in highly pressurised and competitive fields.
Photograph: Simone Steenberg
Moving on to your platform: what exactly is it, and what propelled you to start it?
ISABELLA is an online ballet studio. Members from beginner to pro can take on-demand classes whenever suits them, join live classes with dancers from all over the world, follow structured courses and guides for in-depth improvement of specific things, like pirouettes, and plan it all into their own training schedule. There are some lovely perks beyond the screen too. Our retreats are just for our members, and Prima members get first access whenever tickets for our intensives go on sale. The platform evolved very simply.
After I left the stage, I began coaching dancers, sharing what I’d learned at The Royal Ballet School and the Vaganova Academy. Then COVID hit, studios closed, and suddenly so many dancers had nowhere to train. I began teaching online from my kitchen with nothing more than my phone and 40 regular students, and then more and more people found their way to us. Many of them loved ballet but maybe felt it wasn’t for them. Too old, too late, not near a good school.
That’s when I decided to build somewhere that took the training seriously but made room for everyone who wanted to do it, and do it right! Today, it’s for dancers of every level, from absolute beginners taking their very first class to those training at a professional level, and everyone in between. Whoever you are, you’re welcome here, and I’m so proud of the community we’ve built.
What did you feel was missing from the ballet and dance realms that made you want to start being a mentor of this art form?
I’m very grateful to have got to a place where I have a voice of change in this community. Ballet is non-verbal, and we aren’t taught to have opinions or a voice, though this generation is better at it! If you aren’t naturally confident, it’s very easy to let things get to you.
Although my training was amazing, I think there was a lack of nurturing for young people. A lot of talent gets lost because students burn out, lose their confidence and self-esteem, and ultimately forget why they started. I resonated so much with that. I wanted to create a community and a following that looked behind the curtain. I wanted to share all the ups and downs, and get other world-renowned dancers and experts to share their trials and tribulations too.
The minute you hear from others you look up to about how they struggled and how they got through the hardships, you don’t feel alone anymore. When you don’t feel alone, you feel hope. With hope, we can keep going, hopefully in environments that foster the growth of the dancer, artist and human being. That leads to success.
Photograph: Simone Steenberg
Has it been a nice journey so far?
I don’t think anything worth having comes easily. If you speak to anyone who has made a stamp in their field, they will almost undoubtedly tell you there were some dark times. I’d say it’s been a journey! I’ve learned a huge amount about myself, my art form, what’s missing and where I want to go, and for that I’m grateful. If everything had gone smoothly for me, I doubt I’d be where I am now, helping others worldwide.
How would you like to expand this further?
Ballet is in a great place. More and more people are aware of it for one reason or another. I love seeing people come back to it, discover it for the first time, and keep evolving it. I’d like to expand our platform to more people worldwide, be it adults, pros, teachers and even schools.
I have plans to put on amazing events, expanding ISABELLA to become a home of possibility. A place where, when you’re a part of the community in any shape or form, you know that when you start that online class, do the workout, step into the studio or listen to our podcast or talks, you’re about to become more confident and unlock more than you knew was possible, in dance and beyond. I want to keep spreading this message in many ways. I’m always filled with ideas! One thing at a time.
Photograph: Simone Steenberg
Photographs: Simone Steenberg
Was there anything (lessons, advice, thoughts) you wished you had been taught while being part of a company?
When you step into a company, you’re left on your own. Suddenly you don’t have someone pushing you in class as much anymore, and you’re also starting from the bottom. You aren’t the star of the school anymore, and essentially it feels like you need to start again.
I think the main thing one needs to practise when joining a company is patience with the process, and gratitude for where you are now, even if it’s not quite where you want to go. You can still get there. I was quite an intense student at school, and I tied a lot of my self-worth to my success as a dancer and student.
What I wish I had been taught was a slight disassociation between my job as a ballet dancer and my own identity. This is very hard as a dancer, and it’s what makes it a little different to sport. It’s very artistic and carries a deep soul connection. This is hard to leave at the studio, but I think it’s important for a long-lasting career, and a happy one.
Switching off when you go home, speaking with different inspiring people, and doing and seeing different things makes you a more rounded person, not all-consumed. It creates a better artist ultimately, and I believe a happier one.
Photograph: Simone Steenberg
Any final thoughts?
Helping others reach their full potential, not be afraid of failing, and feel supported brings me so much joy. It’s what I wish we all had growing up whilst striving for high results. If you’re thinking of starting ballet, or even wanting to build your confidence in life, I’d love for you to step inside our ISABELLA community. We will welcome you with open arms.
Photograph: Simone Steenberg
by Chidozie Obasi
Photographer and Director Simone Steenberg
Senior Fashion Editor Lily Rimmer
Hair Sofia Sjoo using Colour Wow Hair
Makeup Maeve McElholm
Photography assistant Adèle Spicer
Styling Assistant Amber Cox
Talent Isabella McGuire Mayes
Isabella McGuire production Yasmin & Hannah
Look 1: Leotard white and tutu BLOCH, Tights HEIST, Ballet shoes ISABELLA’S OWN
Look 2: Tights BLOCH, Leotard DELLALO’ MILANO, Tutu DANCE DIRECT, Tank SKIMS, Knit jumper GARAGE, Earrings DE BEERS
Look 3: Wrap top an leotard BLOCH, Trousers SISTERLY TRIBE, Leotard white BLOCH, Wrap top worn around waist BONDI ACTIVE, Ballet shoes ISABELLA’S OWN
Look 4: Leotard, skirt and wrap top DELLALO’ MILANO, Tights HEIST, Jewellery DE BEERS
Look 5: Dress VIVETTA, Tights HEIST
Students wear leotards and skirts MODA DANCEWEAR
Look 6: Skirt PATRICK McDOWELL, Leotard GABRIELA HEARST, Earrings DE BEERS, Ballet shoes ISABELLA’S OWN
Look 7: Top STELLA McCARTNEY, Mask VIVETTA, Earrings DE BEERS
Look 8: Dress ZIMMERMANN, Jewellery DE BEERS
Look 9: Dress ELIE SAAB, Jewellery DIOR JOAILLERIE