Michal graduated with honours in Classical Ballet from the Dance Conservatory of Eva Jaczova in Bratislava, Slovakia in 2003. That same year, he joined the Ballet of the National Theatre in Prague, and in 2006, he became a member of the Staatsballett Berlin. After about six seasons there, Michal decided to end his professional ballet career and began studying Art Direction in Advertising at Miami Ad School Berlin, from which he graduated in 2014.
During his studies, Michal completed internships in Beijing, Prague, and Berlin. From 2013 to 2019, he also danced as a freelance member of the Deutsches Fernsehballett company. In 2015, he joined Heimat Berlin, one of Germany's leading agencies, as a Junior Art Director. After several promotions across different agencies, he transitioned to working as a freelance Senior Art Director.
From 2022 to 2023, Michal held the position of Senior Marketing Manager at Dubai Opera in the United Arab Emirates. As of December 2023, he is the Creative Director for Marketing and Branding at one of the leading perfume brands in the region, LAVERNE Riyadh in Saudi Arabia.
Michal Fatura: My decision to transition from my ballet career came during a difficult period at the Staatsballett Berlin. After about six seasons there, there were significant changes in the company's situation. Also, the repertoire changed drastically. Despite having a company of 90 dancers, the new programming only utilised part of the ensemble effectively. This left many dancers, including myself, under-utilised for most of the season, which began to affect my professional satisfaction and well-being. I no longer fit the ballet director's vision for the company, and instead of fighting for my contract, I decided that I would rather do something else than stay somewhere I was unhappy.
At this point, I started to consider my options for dance jobs within Berlin, as it was my home and I had an established relationship there and everything. So I considered some other possibilities in the city, such as the Fernsehballett, which was already beginning to disband, and the Friedrichstadt-Palast, where I auditioned but was ultimately told I was too classical. And then I thought, “Okay, what are my other possibilities?” I was around 28 or 29, and I had to think rationally about my future. I knew it was going to be difficult for my career, my relationship, and my life if I tried to “start over” in another company. I felt like I didn’t really want to do that. I reflected on my decade of working in theatres, where I danced some beautiful things, but also had some injuries. So although I knew it was quite early to quit dancing professionally, I thought the best decision would be to start looking for something new.
Michal: I had a big circle of friends in Berlin, and I just started to talk to them, asking them about their jobs. I knew I still wanted to do something creative. I met one friend of mine who was an art director in an advertising company. He told me everything about the profession, and I found it really cool. Since my childhood, I have had a talent for artistic things like drawing and visual art, which I partly inherited from my parents, as my father was a photographer and videographer. I always liked fashion, aesthetics, and colours - ballet is also a lot about aesthetics and perfection.
So I thought, “This could be something for me”. What was attractive to me regarding this job is that when you study, it encompasses art direction, photography, graphic design, copywriting; it’s very diverse, so when you finish school, you have this base, but it’s in your hands, and you decide what you’re going to do with it. So the range is incredible.
I recognised that studying art direction would therefore be a great investment in my future, so I started researching different educational options. My friend recommended several schools, among which Miami Ad School Berlin stood out. The concept for this educational program was born in Miami, as the name says, and it was a two-year program with a great concept: the first year involves 4 terms of 10 weeks, where you are taught by current industry professionals. This means there is very little theory - you are starting with the practical side of things from the beginning. In the second year, you have the opportunity to do various internships. The school has campuses all over the world, so there are many internships to choose from. For instance, during my studies, I interned at Ogilvy and Mather in Beijing, Y&R in Prague, and Leo Burnett in Berlin.
In the last quarter of the second year, you create your portfolio. Basically, the concept of Miami Ad School is that it’s a portfolio school, so when you graduate, you don’t need to do any internships because they were part of your studies, and you have an amazing portfolio. Another unique aspect of the school is its focus on industry awards. Students are encouraged to participate in student awards, which helps both the school's reputation and the students' future prospects. By the time I graduated, I had already won - together with my amazing team partner Anne - two awards. This preparation was very valuable when I entered the job market. I received 3 or 4 job offers straight away from both large and boutique agencies, allowing me to start my new career directly as a junior art director.
It's about knowing how to direct people - where to stand, where to look, how to hold themselves - to achieve a natural and beautiful image.
Michal: The program was intensive, running five days a week for 10-week terms. There was little room for outside work, so I took on freelance dance jobs during the breaks between terms.
It was definitely challenging financially. Due to some bureaucratic issues, I didn’t receive the funding I had hoped for, and I ended up funding my education myself. That meant covering not just the school fees, but also living costs like rent and insurance.
Being a full-time student meant I couldn't claim unemployment benefits, as I wasn't available for work. I had to be resourceful in finding ways to support myself financially. A crucial mistake I made was not fully utilising the resources of the Agentur für Arbeit (Employment Agency): There was a complex situation regarding school options. My chosen two-year program cost about 25,000 euros, while an alternative three-year program was priced at about 30,000 euros. The decision-makers focused on the hourly rate rather than the overall duration and cost, which led to some frustrating discussions. Despite providing extensive documentation about my school's unique opportunities and track record, I faced resistance because it wasn't on their pre-approved list.
This experience taught me a valuable lesson: it's important to be fully financially prepared before starting such a significant career change. I advise others to thoroughly research and secure all possible funding options before committing to a program. Understand the available support and how you can navigate the bureaucratic side of things.
Michal: The studies were in-person, which is important for this job. In real-world agency settings, we typically work in teams. As an art director, I collaborate closely with a copywriter to develop creative concepts. I focus on the visual aspects, while my partner handles the text, headlines, and explanations. In-person interaction is vital for effective brainstorming and collaboration.
Being physically present allows you to really understand what it’s like to be in a group of like-minded, focused people. It encourages a competitive yet collaborative environment where you can learn from others and push yourself to improve. So for anyone wishing to enter this field, I suggest doing in-person, daily studies.
Michal: Definitely. When I was completing my studies, we had to create a portfolio where you listed all your projects but with a personal touch. While most students chose digital formats, I chose to create a printed book, as I believe that print is not dead!
My personal touch in this portfolio was that I integrated what I had learned from my dance career and how I felt I could apply those things to my new profession. In front of each project was a quote about the skills needed in a dance career, such as teamwork and discipline. I also emphasised character interpretation. In dance, we have to express and deeply understand different characters. I related this skill to understanding and connecting with clients in my new field. Just as a dancer must feel and perform a character, in advertising, we must understand our clients and their needs. I also talked about the concept of healthy self-criticism. As dancers, we constantly work with mirrors, always trying to improve. This translates well into the advertising world, where you need to be reflective and self-critical.
So that’s what I built my portfolio on, and it was very successful. There is this fascination with ballet dancers, so me being the “unusual” one when applying for jobs was helpful as I definitely stood out. Even now, or when I was working at Dubai Opera, for example, everyone associated me with my dance background. So they all understood that this was my second career, and also appreciated my first career, which was beautiful.
Another thing that I took from dancing was an understanding of hierarchy and respect for different positions. During job interviews, I was often asked if I would be comfortable with younger creative directors, given that I was starting this career later, at around 30 or 31. My dance background meant that I didn’t have a problem with it. I was a corps de ballet dancer who saw younger principals come through the company, so I was used to respecting talent and position regardless of age.
Michal: One skill that hasn’t necessarily surprised me but is definitely valuable is our sense of aesthetics as dancers, particularly regarding body movement and posture as an expression. This has been very helpful, especially in photo and video shoots for our campaigns. For me, every movement is important, and coming from dance means I appreciate the details. When I see a model's posture that doesn't align with the concept or overall look we're aiming for, I can immediately work out what to do. It's about knowing how to direct people - where to stand, where to look, how to hold themselves - to achieve a natural and beautiful image.
Especially right now, when those doing the campaigns tend to be influencers instead of actors, so they often aren’t formally trained in how to move and act in front of a camera. My dance background allows me to guide them effectively. I can demonstrate how to move naturally, avoid overacting, and maintain control on camera.
This ability to understand the body and direct others in their movement is something I've brought from my dance career, and I'm incredibly grateful for it.
Michal: That's a difficult question because every day in marketing is so different. You always need to be flexible and up to date with any new trends. In my current role as a creative director on the client side for a perfume company, flexibility is key and my responsibilities are diverse. I oversee comprehensive 360-degree advertising campaigns, which includes various media channels such as TV, print, digital, and social media. Additionally, I'm involved in product design, packaging, and other creative aspects of the business.
I lead a team of specialists - illustrators, copywriters, 3D artists, and graphic designers. Each day brings new challenges, and it always depends on the specific products we're working on. There's also a lot of communication with external agencies worldwide, coordinating various projects. It’s a lot, and things often have to be executed very quickly.
Be open to new possibilities and don't limit yourself to what seems like the obvious path for a former dancer.
Michal: Yes, so it’s a lot of responsibility, especially when working with junior team members, because you have to consider their long-term career paths. Some may stay with the company indefinitely, while others might seek new opportunities after a few years, which is perfectly natural.
As their leader, it's my responsibility to teach them something. My goal is to prepare them so that when they move to a mid-level position, whether here or at another company, they have a solid understanding of their work. I want to avoid a situation where they struggle in a new role because they haven't been properly prepared during their time with us.
Michal: Firstly, I left ballet earlier than I had planned, even though I continued with freelance work afterward. This decision was difficult because, from childhood, we're conditioned to believe that being a ballet dancer means belonging to a ballet company. And the industry puts you under a lot of pressure: you're expected to maintain a perfect physique, always be in top shape, and to live a certain lifestyle. When you stop dancing and leave this bubble, you suddenly realise that most of your life revolved around the company. About 90% of your social circle consists of other dancers, and you realise that you almost had no life outside the theatre. You suddenly feel lonely, and you’ve also lost your daily routine.
Another challenge is the physical adjustment. The transition from daily intensive ballet training to a lifestyle of studying or office work is a shock to your body. So suddenly you are at school, you start at nine in the morning and you sit there until five in the afternoon, five times a week. So ballet class is not possible. You can go to the gym afterwards, but the workout is not the same as doing a ballet class every day. Your body starts to change, and adapting to this new physical state can be tough.
Also, as dancers, we are used to being evaluated by others; I had always defined myself by what I did onstage, how the audience reacted, and what my ballet masters told me. Suddenly, I had to learn to validate myself, which was challenging, especially because I didn’t have the stage or any ballet masters around me anymore. I was also around colleagues who were much younger than me, and usually very confident in themselves. I was still carrying the dancer’s mindset of extreme perfectionism and a constant need for external validation. But I learned to manage this self-definition and figure out what I was other than a dancer. It also helped that I was still doing freelance dance jobs, not just because of the money but because dancing was suddenly fun again. So that helped me a lot during this transition time.
Although I sometimes wonder if I could have danced a little longer, I’m very happy that I made this decision. At 40, I've achieved a high position in a new career, while some of my peers who danced until later are now struggling to find their path.
Michal: Yes: don't limit yourself to dancing or dance-related careers. Many dancers feel they should follow a certain path - becoming a dance teacher, physiotherapist, Pilates instructor, or private trainer - because these roles align with their physical knowledge. But don’t limit yourself to these, because you can do those things anytime, and I swear you’re not ever going to lose that knowledge.
Even after being out of the ballet world for over a decade, I could still teach a ballet class or offer corrections. You’re always going to understand the body, you’re always going to understand the stage. So don’t limit yourself, as you always have a chance to come back to that path.
I encourage dancers to explore their other talents and interests. Combine your dance experience with skills from other areas. Be open to new possibilities and don't limit yourself to what seems like the obvious path for a former dancer.
Please feel free to reach out to Michal if you have any questions for him! @michal.fatura
All images courtesy by Michal Fatura
