Patricia Zhou, a ballerina trained in classical dance since the age of thirteen, has gained recognition for her choreography and modeling, earning numerous awards within the dance community. As a friend of Dior Beauty, we had a conversation with Patricia before the brand’s immersive celebration for its popular lip product, the Dior Addict Lip Glow. This cult favorite has returned with a new formula developed under the expertise of Peter Philips, Creative and Image Director for Dior Beauty, and it is a product that Patricia always keeps in her collection.
In this discussion, Patricia shares insights into her creative processes, the influences from her early experiences, and the importance of community and collaboration. As we enter the Year of the Snake, a period for reflection and renewal, Patricia contemplates significant moments in her life, from bold career and personal decisions to finding peace through self-care and beauty rituals, as she anticipates exciting new endeavors in the upcoming year.
Sabrina Soormally: Could you share how you first got involved with dance?
Patricia Zhou: I began dancing around the age of eight at a recreational studio with my older sister. We were signed up for various classes after school—from lyrical to tap to acro. I think it was my mom's way of keeping us busy, as she believed that watching TV would be detrimental to our minds.
It wasn’t until I turned thirteen and took professional ballet lessons that I discovered my passion for it. Experiencing ballet's beauty in person sparked my desire to pursue it as a career. I was unaware of what that journey would involve, but the discipline and continuous pursuit of perfection captivated me.
Who are some dancers you admire? Industry legends you've looked up to?
Oh, that’s always the hardest question for me! Being a Libra, I struggle to make decisions.
There are countless incredible dancers I love, and I admire their uniqueness. They portray diverse characters while also staying true to themselves.
If I’m honest, some of my favorite dancers are my adult students. The joy I see in them when they dance outweighs any technical achievement... and their commitment, even during challenging Sunday morning classes, is truly inspiring.
How has your classical dance training influenced your choreography, and how have you evolved to develop your own style?
It’s quite interesting, as I never considered becoming a choreographer during most of my career. My strengths were in adapting to various styles, which meant I mainly followed directions.
I hadn’t paid much attention to the process of creating movement until I began choreographing for myself. I realized I had gained essential skills from collaborating with diverse choreographers and their unique approaches to musicality and flow.
I draw on the muscle memory of all the works I’ve danced and my ballet roots to create something that feels authentic to me.
Where do you find inspiration when crafting a routine? What stimulates your creativity?
Music drives my passion for dance. The ability to visually express a piece of music and create a harmony between what the audience hears and sees is vital in my work.
Every piece I’ve created begins with music. Whenever I face challenges, I find that listening often gives me the direction I need.
What was your experience transitioning from dancer to choreographer, guiding others in their movements?
Initially, it felt quite daunting since I never imagined doing this. However, I was fortunate to start choreographing during COVID. It turned out to be an ideal time for me to explore a new aspect of my creativity from home, without the pressure and judgment from others.
One liberating phrase I learned was, “don’t let perfect be the enemy of good.” It taught me to just begin and trust that I would learn and improve through the process.
Choreographing for myself helped build my confidence, and I eventually began creating with collaborators, which made me comfortable directing a whole room.
How do you view the differences between dancing and choreography, and what lessons have each taught you?
The main difference is that as a dancer, you listen and take direction, while as a choreographer, you lead and guide. Yet, the best collaborations happen when these roles blend, allowing both dancer and choreographer to create something special together.
I’m fortunate to still experience both roles, so I remain mindful of what it's like to be in the dancer's position. This helps me foster communication that meets my needs and ensures I create a comfortable environment for those I work with.
Transitioning from dancer to choreographer during COVID must have been challenging; how did you navigate that change during such uncertain times? Where do you seek strength and support?
The transition felt very natural, and in retrospect, COVID was an ideal time for me to explore this new direction.
Shortly before the pandemic, I went freelance and found myself isolated in L.A., so I needed something to fill my time. I began teaching ballet classes online and spent my days choreographing small combinations suitable for limited spaces. Interestingly, the constraints sparked my creativity, as I wanted to help people enjoy dancing while
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A ballerina trained in classical techniques since the age of thirteen, Patrica Zhou has gained recognition for her choreography and modeling, along with a number of awards.