"I grew up studying ballet; I grew up honing my craft"
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There’s a quiet power move in Dickinson pairing ballet with modeling: she’s laundering a profession often dismissed as luck-and-genetics through the language of discipline. Ballet is cultural shorthand for bruised toes, ruthless repetition, and a body treated like an instrument. By invoking it, she reframes her image not as a pretty accident but as the product of training, pain tolerance, and obsessive control. “I grew up” does double duty, too: it’s biography as credential and alibi, suggesting she didn’t just enter the beauty economy; she was forged into it.
The repetition is the tell. “I grew up... I grew up...” reads like testimony, a rhythmic insistence meant to drown out the old narrative that models are discovered, not made. “Studying” gives her intellect; “honing” gives her edge. Craft is a word usually reserved for artists and athletes, and she’s deliberately crossing those wires to demand seriousness. It’s also a subtle flex against the industry’s disposability: if modeling is craft, then the model is not a coat hanger but a worker with technique and standards.
Context matters: Dickinson’s persona has long been built on being the loud truth-teller of fashion’s backstage. Here, she’s doing something more strategic than confessional. She’s claiming lineage. Ballet becomes her receipt, proof that what looks effortless was engineered, and that glamour, like choreography, is designed to hide the strain.
The repetition is the tell. “I grew up... I grew up...” reads like testimony, a rhythmic insistence meant to drown out the old narrative that models are discovered, not made. “Studying” gives her intellect; “honing” gives her edge. Craft is a word usually reserved for artists and athletes, and she’s deliberately crossing those wires to demand seriousness. It’s also a subtle flex against the industry’s disposability: if modeling is craft, then the model is not a coat hanger but a worker with technique and standards.
Context matters: Dickinson’s persona has long been built on being the loud truth-teller of fashion’s backstage. Here, she’s doing something more strategic than confessional. She’s claiming lineage. Ballet becomes her receipt, proof that what looks effortless was engineered, and that glamour, like choreography, is designed to hide the strain.
Quote Details
| Topic | Work Ethic |
|---|---|
| Source | Help us find the source |
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