6 Models Show Us Their Best Workout Moves—and Reveal Their Biggest Fitness Vices
In Vogue's April issue, we celebrate the knockout bodies of six of our favorite models, who, with their hard-charging and dynamic workouts, give new meaning to the phrase "Strong is the new skinny." See what happens in today's fitness video when they show us their best behind-the-scenes moves—from a slam dunk tennis serve to a flexibility-testing split. Video by Barbara Anastacio.
Box Like a Supermodel: Inside Gigi Hadid's Body-Sculpting Workout
Boxing enthusiast Gigi Hadid hits the ring at Gotham Gym, where she demonstrates the secret behind her toned limbs and made-for-crop-tops abs.
Watch 4 Victoria’s Secret Angels Take on the Tough Mudder Challenge
Romee Strijd, Jasmine Tookes, Stella Maxwell, and Sara Sampaio prove just how tough Victoria’s Secret Angels really are.
Meet the Trainer Behind the Supermodel Bodies of Adriana Lima, Romee Strijd, and More
We spend a day with trainer Michael Olajide, Jr. at his boutique gym, Aerospace, to find out exactly why he’s the go-to man for his major model clientele.
The Metropolitan Museum of Art Is About to Become Your Favorite New Fitness Destination
On a recent Friday morning at the Metropolitan Museum of Art in Manhattan, I find myself standing before King Henry VIII’s field armor, contemplating the creakiness of my desk-bound body. We make an unlikely pair: this gilded, armadillo-like suit poised for battle and me, unceremoniously dressed in gray drawstring pants and a Monogram T-shirt, doing side stretches alongside a dozen or so strangers. Typical art-viewing etiquette this is not, and that’s exactly the point of The Museum Workout, a collaboration nearly three years in the making between the dance troupe Monica Bill Barnes & Company and the writer-illustrator Maira Kalman. Commissioned by MetLiveArts and premiering this Thursday, with select dates through February 12, it’s a curious hybrid: part guided tour; part all-levels fitness class; and part performance piece blending choreography, music, and narration.
The genre-blurring approach is clear as soon as our group takes off in a double-time jog from the Great Hall, threading past Byzantine mosaics to the medieval galleries. The disco anthem “Stayin’ Alive” pulses from a speaker (carried by a vintage-tux-clad Robert Saenz de Viteri, keeping pace), and for a moment the song becomes a sly reminder of why we bother to do cardio exercise. At the head of the pack, Barnes and fellow performer Anna Bass sparkle in sequined dresses, their chiseled backs eliciting murmurs of admiration.
We filter into the sunlit Carroll and Milton Petrie European Sculpture Court and land upon the first artwork in an idiosyncratic mix of Kalman’s favorites: Perseus with the Head of Medusa, by Antonio Canova. With the airbrushed physique of an Olympic swimmer, the mythological hero shows off the skill of his maker (the sculptor was a favorite of Napoleon). Next, we prance down to Franz Xaver Messerschmidt’s A Hypocrite and a Slanderer, a subject whose troubles seem to pool into the rippling folds around his chin.
Besides providing a challenging 45-minute workout—climbing the cast-iron staircase created for the Chicago Stock Exchange Building; speed-walking past a Papua New Guinea dance costume; sinking into deep squats in front of that masterpiece of scandal, Madame X (Madame Pierre Gautreau)—there’s the undeniable thrill of wandering through an empty museum before the throngs arrive. And if most tours offer up a bingo card of greatest hits, this one hopscotches from, say, the 13th-century Saint Firmin Holding His Head (talk about mind-body disconnection) to a series of female busts in the majestic Greek and Roman wing. Tapping into that sense of history is crucial for Kalman, a Met regular who is “completely passionate” about the place.
Rewiring that museum-going experience, which includes Kalman's charmingly unconventional audio guide (intercut within the aforementioned disco and Motown soundtrack) is The Museum Workout’s intent. “We’ve spent time at various museums, watching the way people are, physically, and it’s like [they’re] unhappy and uncertain,” Barnes says of the prevailing sense of “not knowing how long to stay, when to move on, what to stop in front of.” Here, the prescribed path strips away that anxiety, while the accessible, follow-the-leader choreography—Barnes and Bass nixed early plans for push-ups and planks—occupies just enough headspace in order to free up the rest, akin to a moving meditation.
What remains is an almost radical amount of time, up to a full minute, where you’re left to stare (and stretch and squat) in front of each artwork. How many times have I passed by the mesmerizingly beautiful Tomb Effigy of Elizabeth Boott Duveneck without actually seeing it?
“We’re all making the piece together,” Limor Tomer, general manager of MetLifeArts, explains of the feeling of community over hierarchy. “There are no spectators.” Except, of course, the guards. Some have taken to dancing along; another shushes the music as we cruise into The Charles Engelhard Court. “There’s one lady that just shakes her head every time I come by,” Bass says with a laugh. “I try so hard to catch her eye and be like, ‘I promise—we’re allowed!’”