This is the third post in my series looking at Diaghilev’s Ballet Russes from 1909-1929. Previous posts were “Astonish Me” and “Exotic Escapism”. In this post we will look closely at a few costumes by Bakst for the Sleeping Beauty and a costume by Benois for the production of Petruchka.
The Sleeping Beauty
This was re-named the Sleeping Princess for the London Season. Here was yet another feast for the senses from Bakst. He used muted colour tones in the set design and rich, vibrant colours for the costumes which created a magnificent spectacle when the full cast of dancers where arranged on stage. (NGA, 1998) No expense was spared in this production. In fact it was the most extravagant of all Diaghilev’s Ballets and nearly bankrupted him.
Although this costume was for a minor role you can see no expense was spared with the elaborate embellishing. Its’ gorgeous burnt orange satin bodice has volumous sleeves which have been caught up with pearl bands above and below the elbow. The design silhouette is typical of an early 18th century court dress with its panniered open robe. Behind which is an olive-green velvet train edged in marabou that is attached at one shoulder. Take note of all the finishings; gold studs, a metallic medallion, appliqués and gold fringing. There is a faux sleeve and chemise of off-white Japanese chiffon. The faux chemise is edged with a pleated ruffle and finished with a turquoise satin ribbon. (Healy & Lloyd, 1990)
See below for a tutorial on how to easily create beautiful chiffon pleating for these sorts of details in costumes.
The Bluebird consists of a doublet and cap. This was made from sky and prussian blue satin. This costume is intricately decorated with imitation pearls, jewels and appliqué which have been edged with braid. The upper part of the gigot sleeve has gold painted motifs which are also edged with braid. This ensemble was worn with blue tights. (Healy & Lloyd, 1990)
It is interesting to read the translated notations from the design rendering above to really appreciate the aesthetic intent of Bakst:
- Prologue, Maids of Honor, at least 4 costumes- this has then been scribbled over with pencil.
Then clockwise from top:
- headdress in silver material with pearls
- very fine silk scarf with pearls and silver
- white gloves
- vivid blue velvet bodice with silk and cut front
- sleeves with wide lace-work
- apron in silver material
- skirt in green silk with gold silk lace
- train in cut with patches of silk of cut
- jewel
- silk ribbon
- necklace of large pearls
- earrings (Schouvaloff, 1997)
Petrouchka
Petrouchka was first staged in 1911. It has reportedly been reproduced over 80 times and is in the repertoire of many large ballet companies globally. The designer for this production was Benois. He took his inspiration from his own childhood memories of fairs, bazaars, and Punch and Judy booths. (Healy & Lloyd, 1990)
This long sleeved, cream cotton tunic has a wide Pierrot collar finished with a thin, red satin ribbon. The lower edge of the tunic and the trousers are finished with a Vandyke border (a border of v-shaped points) which has also been edged in satin. The trousers are backed in linen and topped with chequered pink and yellow silk. (Healy & Lloyd, 1990)
Below is an example of a Vandyke border that I applied on tutu plate and was also effectively used on the top of the bodice front. This costume was designed by Max Hurley for the “Magic Faraway Tree” in 2013.
Pleating Tutorial
Beautiful pleated trims made easy!
You need: poster board, cotton drill, glue, craft knife, ruler, and pencil.
- Decide on the depth of your pleat and pleat return. Eg. 2cm and 1cm. Mark 2cm and 1cm alternating up the poster board then score these lines with a craft knife. Be careful not to cut all the way through the board.
- Now fold your pleats into the poster board and iron well.
- Cover the back of the pleated board with craft glue and stick down onto a piece of cotton drill.
- Keep flat and let dry. I ironed it again at this stage. Trim cotton drill to edges of poster board.
- Start pleating!
- Begin at the bottom edge. Using your fingers gently pushing the fabric into the cardboard pleats one at a time. Move carefully up the board.
- Iron well. Let cool.
- Ease the fabric out of the pleater board.
- Voila! Perfect, quick pleats every time. You are only limited by your imagination.
References:
Healy, R & Lloyd, M. (1990) From Studio to Stage. Canberra: Publications Department, Australian National Gallery.
National Gallery of Australia. (2011) Ballet Russes The Art of Costume. Retrieved from National Gallery of Australia website: http://nga.gov.au/exhibition/balletsrusses/Default.cfm
National Gallery of Australia. (1998) From Russia with Love. Canberra: Publications Department, National Gallery of Australia
Schouvaloff, A. (1997) The Art of the Ballet Russes. London: Yale University Press
Tutu Couture and Stagewear 