WNBF Bikini poses

Also called: front position, front pose

1. Place one foot slightly forward with the weight over the back leg, and let the front knee stay soft rather than locked.
2. Roll the shoulders back and down and lengthen through the crown of the head, so the line starts at the floor and finishes above it.
3. Rest one hand on the hip with the elbow away from the body, which opens a gap at the waist instead of pressing the arm flat.
4. Draw the navel in on a slow exhale and hold it, keeping the ribcage down rather than lifting the chest to fake the taper.
5. Choose a fixed point above the audience and hold your gaze there; the eyes moving is what reads as nerves from the floor.

Also called: bikini side pose

1. Rotate a quarter turn from your front pose and cross the far leg slightly behind the near one, rising onto its toe.
2. Angle the hips a few degrees away from the judges while keeping the shoulders squarer, which is what opens the waist.
3. Let the near arm hang long with a soft bend and the palm turned in, framing the torso rather than hiding it.
4. Draw the ribcage up and the stomach in on the same breath, holding both through the full count.
5. Keep the chin level as you settle into the turn; dropping it shortens the neck and closes the line.

1. Turn fully away from the judges with the weight on one leg and the other back on its toe, hips angled off square.
2. Arch gently through the lower back to lift the glutes without pushing the ribcage forward and losing the waist.
3. Look back over the shoulder toward the judges rather than turning the whole torso to follow the head.
4. Let both arms hang long and slightly away from the body so daylight shows at the waist on either side.
5. Press through the standing leg to hold the hamstring and glute tight for the whole hold, not just the first second.

Also called: alternate rear pose

1. Rehearse this as a genuine alternative, not a backup. Pick whichever of the two options shows your best rear line and commit to it.
2. Set the same weighted stance as the first option, but bring both hands to the hips rather than letting the arms hang.
3. Keep the elbows pointing back rather than out to the sides, so the arms narrow the silhouette instead of widening it.
4. Hold the shoulder blades drawn down through the count so the upper back stays long under the hands-on-hips frame.
5. Practise switching between both rear options in the mirror so whichever one is called reads equally rehearsed.