Dressed to Dance

Everything about Standard and Smooth attire flows from one fundamental difference between the two styles: whether the partners stay connected. In International Standard, the couple maintains a closed hold for virtually the entire dance. The leader's right hand rests on the follower's left shoulder blade, their torsos are in contact, and they move as a single unit across the floor. In American Smooth, that connection is regularly broken — partners spin away from each other, stand side by side, and the follower may be several feet from the leader during open figures.

This single difference cascades into almost every design decision in the dress: the back construction, the hem length, the skirt weight, the neckline, and even the embellishment placement. A dress that works beautifully in Smooth would be a liability in Standard, and vice versa.

In International Standard, the dress is floor-length — full stop. This is both convention and practical necessity. The footwork in Standard (heel leads, rise and fall, precise weight transfers) is judged closely, and a shorter hem would expose the feet in a way that draws attention to technical imperfections. More importantly, the floor-length skirt with float panels creates the sweeping, unified visual that is the aesthetic signature of Standard. When a couple waltzes, the skirt should appear to float — a shorter dress simply doesn't produce that effect.

In American Smooth, a shorter hem is not just permitted — it's often preferable. When the follower executes an underarm turn, a dip, or a side-by-side walk, her legs are fully visible and the footwork is part of what's being evaluated. A floor-length skirt obscures exactly what judges want to see. Many Smooth dresses use a high-low cut (shorter in front, longer in back) or an asymmetric hem that shows the leg line while still providing visual drama from the back.

The back of a Standard dress is constrained by the leader's hand placement. In closed hold, the leader's right hand rests on the follower's left shoulder blade — roughly at the bra strap line. A deeply open back in this position creates two problems: it's uncomfortable for the leader (skin-to-skin contact is not the goal), and it breaks the visual unity of the frame. Standard dresses are typically designed with a covered or lightly open back that still allows the leader to maintain a clean, comfortable hand position.

In Smooth, the back is a design opportunity. Because partners regularly separate, the follower's back is frequently on full display to both the judges and the audience. Smooth dresses often feature dramatic open backs, deep V cuts, rhinestone-encrusted straps, or elaborate cutout designs — all of which would be impractical in Standard but are visually stunning when the follower spins away or is held in a dip.

Standard skirts are typically constructed with float panels — separate layers of chiffon or georgette attached at the waist or hip that are free to move independently of the main skirt. These panels catch the air during the sweeping movements of Waltz and Foxtrot, creating a visual trail of fabric that amplifies the sense of flow and rise and fall. The hem of a Standard skirt is often weighted with a thin chain or heavier fabric to ensure the panels fall correctly and don't fly up unexpectedly.

Smooth skirts are lighter and more fluid. Because the dance involves more isolated movement — the follower spinning independently, changing direction quickly, executing sharp turns — a heavily weighted skirt would fight against the movement rather than enhance it. Smooth dresses often use lighter chiffon or mesh that responds quickly to direction changes and looks beautiful during the open-hold moments where the fabric can billow freely.

Ballroom shoes are not fashion shoes. Every element — the heel height, the heel shape, the sole material, the ankle strap placement — is engineered for a specific movement vocabulary. And the differences between Standard and Smooth shoes, while subtle, are meaningful.

International Standard shoes typically feature a Cuban heel — a broad, stable heel of approximately 2 to 2.5 inches. The Cuban heel has a slightly angled front face and a wide base, which provides excellent stability for the rise-and-fall technique that defines Standard dancing. When a Waltz dancer rises onto the ball of the foot and then lowers through the heel, the broad base of the Cuban heel makes that transition smooth and controlled. A narrow stiletto heel would make the same movement feel precarious.

The heel height in Standard is also calibrated to the frame. When a follower is in closed hold, her heel height affects the angle of her body relative to the leader's. Too high a heel tips the follower's weight forward in a way that disrupts the frame; too low and the visual line of the leg is lost. The 2 to 2.5 inch range has become the standard (pun intended) because it balances these competing demands.

American Smooth shoes are similar to Standard shoes in heel height — typically 2 to 2.5 inches — but allow for slightly more variation in heel shape. Because Smooth involves more open-hold figures and the follower is frequently on display as an independent dancer rather than as half of a unified frame, there is more latitude for a slightly slimmer or more elegant heel profile. Some Smooth dancers prefer a flared heel (wider at the bottom, narrower at the top) that offers stability while looking more refined than a full Cuban heel.

The key constraint in both Standard and Smooth shoes is the sole: all ballroom shoes use a suede sole. Suede provides the right amount of slip — enough to allow smooth weight transfers and turns, not so much that the dancer slides uncontrollably. Rubber-soled shoes grip the floor too aggressively and make the precise footwork of ballroom dancing feel labored. This is why wearing street shoes on a ballroom floor is a cardinal sin — and why investing in proper dance shoes is non-negotiable from your very first lesson.

For context, Latin and Rhythm shoes operate on completely different principles. International Latin shoes typically feature a 3-inch stiletto heel — the height is intentional, because it shifts the dancer's weight forward onto the ball of the foot, which is exactly where Latin technique requires the weight to be. The hip action that defines Latin dancing (the characteristic sway and isolation) is partly a product of the heel height and the resulting weight placement. A Latin dancer in Standard heels would struggle to produce the correct hip action; a Standard dancer in Latin heels would struggle to maintain the frame.

This is why you should never use your Latin shoes for a Standard lesson, or your Standard shoes for a Latin class. They are not interchangeable — they are tools engineered for specific movement vocabularies.

If you're preparing for your first competition, the most important thing to understand is that your dress and shoes are part of your technique, not accessories to it. A Standard dress that's too short will obscure your footwork and distract judges. A Smooth dress with a floor-length weighted hem will fight against your open-hold figures. Shoes with the wrong heel height will make correct body alignment physically difficult.

The good news is that you don't need to spend a fortune to get started. A simple, well-fitted dress in the correct silhouette for your style will serve you far better than an elaborate dress in the wrong cut. And a quality pair of dance shoes — even an entry-level pair from a reputable brand — will immediately make your dancing feel more controlled and connected to the floor.

When in doubt, ask your instructor before you buy. They will have strong opinions about what works for your body type, your current level, and the specific competitions you're targeting — and those opinions are worth more than any online guide, including this one.