Two things you need to know about Cole Haan's collaboration with New York City Ballet, which has yielded the excellent Zerogrand flats:

1.) There is a meet & greet with the three real-deal ballerinas who contributed to the design of the Cole Haan/NYCB line on Monday, October 12, at the Nordstrom in Short Hills, New Jersey, from noon-2 p.m. That would be Gretchen Smith, Sara Mearns and Megan Fairchild. Talk to these artist-athletes, take a photo with them, try on some shoes-and since there's no school that day, consider bringing along a little dancer who might like to meet some new sheroes.

2.) We spoke with Smith, Mearns and Fairchild about their input into Cole Haan's designs and the future of ballet in general, and that conversation is below.

Shop: Cole Haan Zerogrand Ballet Flat | all Cole Haan

Nordstrom blogs: What was your specific input for the design of this shoe? How much of that input was reflected in the final product?
Megan Fairchild: We wanted a ballet flat that hugs the arch nicely, is comfortable, and doesn't pinch out any part of the foot. The elastic detail around the heel is inspired by the elastic we wear to keep our pointe shoes secure. I love the little nod to the details of ballet.

Sara Mearns: I always love a little glam in my shoes so I pushed for some sparkle, which is also inspired by our beautiful costumes. My favorite style is the Zerogrand Stage Door Ballet in Gunmetal Dot Print-just enough sparkle without overdoing it!

Gretchen Smith: The importance of being as close to the ground as possible-simply put, the less shoe the better for me and my body. This input was reflected in what is now the outsole for our shoes!

Obviously they aren't toe shoes, but other than that, would you consider these shoes functionally danceable?
Megan Fairchild: Because they fit so well, yes. For a shoe to be danceable, it has to stay on your foot as you move around. These shoes do that well, with lots of flexibility in the sole and a slight cushion for extra comfort.

Sara Mearns: I actually used them to teach ballet class in! They are so lightweight and show off my feet well, so they were easy to wear while Demonstrating combinations for the class.

Gretchen Smith: Yes! I love to go out dancing-it happens rarely and my moves are like those of an 80's backup dancer but believe me, they are functionally danceable. I've tested them.

Who is one dance instructor that set you on your path to NYCB? How did that person impact you?
Megan Fairchild: Kaelynne Oliphant from Sandy, Utah. She always saw great things in my future and continues to root for me in all that I do. She always tells me to sparkle and shine.

Sara Mearns: That would be my first ballet teacher, Miss Ann Brodie, who passed away when I was 12. She was the one who told my mom that I should to go to New York to audition for The School of American Ballet, New York City Ballet's official school. That decision changed my life!

Gretchen Smith: Not one, but three: Adahli Aranda-Corn, my teacher as a child, who instilled in me both passion and respect; Patrick Henson, my director as a young teen who urged me to audition for SAB and instilled in me a true belief in myself; and Suzi Pilarre-one of the most colorful, strong and take-no-prisoners teachers I've known. They all nurtured me, expected of me, and believed in me and I am beyond thankful for their influence.

If it weren't for ballet, I'd probably be...
Megan Fairchild: Some type of mathematician. I love love love math!!!

Sara Mearns: I can't imagine a life other than this one.

Gretchen Smith: A journalist or in fashion. Maybe a fashion journalist?

The last great dance performance I saw was...
Megan Fairchild: At NYCB, when Jock Soto retired After the Rain with Wendy Whelan. They originated the ballet, which was choreographed by Christopher Wheeldon. It is so powerful and yet so simple. They both dance barefoot. She wears just a pink leotard and he wears bone-colored pants. It's about loss, love, and death. I love it. The two dancers were so special in it together.

Sara Mearns: The closing performance of On The Town, choreographed by my boyfriend. It was a true masterpiece in dance. Megan was the lead ballerina and I've never been more proud to call her my friend and colleague.

Gretchen Smith: Anjelin Preljlocaj's company's performance of And Then, One Thousand Years of Peace. It was mind-blowingly beautiful, provocative and political. However, to be able to see New York City Ballet from the auditorium on a rare night off is breathtaking. My coworkers constantly inspire and wow me.

The future of New York City Ballet lies in...
Megan Fairchild: Keeping young people interested-both audience members and young aspiring dancers. Without the love for the art form in the next generation, there would absolutely be no future. Our audiences are everything and owe them so much. They give us the opportunity to live out our dreams. We have to keep growing and developing our audience.

Sara Mearns: The love and passion of its fans and supporters. The dancers pour their hearts out every night for the audience hoping they will come back again, and inspiring young men and women that dreams can come true. But ultimately, if it weren't for our supporters, none of us would be living out our dream every single day.

Gretchen Smith: The continual respect for Balanchine's legacy, the constant dedication and patience of the younger generations of dancers and the education and appreciation of a wider audience.