Modernism – Final Curtain of Diaghilev’s Ballet Russes

This is the final post in my Diaghilev’s Ballet Russes Series. We will look at the intriguing costumes of Le Bal by designer Chirico.

The intrinsic qualities of the Ballet Russes started to change noticeably during the war. Exoticism slowly began to be replaced by Modernism. By the mid 1920’s, the influence of Parisian artists on Diaghilev had helped change the character of the company. Le Bal (The Ball) was one of Diaghilev’s Ballet Russes final productions. Not more than a few weeks after the curtain fell on The Ball, Diaghilev became gravely ill and passed away while holidaying in Venice. (NGA, 1998)

The costume and set designer for The Ball was Giorgia de Chirico and choreography was by George Balanchine. The scenario was that of a masked ball however, the guests at the ball are costumed in a most unconventional way. They all have elements of artificial structures resembling pillars or bricks and mortar together with natural elements of water and wind painted or appliquéd onto their costumes. This gave the impression of moving pieces of architecture.  Much of the success of this ballet has been credited to Chirico’s costume and set design. This production launched a successful career in theatre design for Chirico. (Healy & Lloyd, 1990)

Costumes by Giorgio de Chirico from Le Bal, (NGA, 2011)

There was one exception to the architectural characterisation; the role of the young officer was by contrast quite normal. He wore a stylised military uniform. The cream woolen jacket of this costume had large appliquéd medals with braid detailing. The maroon woolen epaulets are oversized and are believed to be internally structured with a hessian type of fabric that has been stiffened with glue. (Healy & Lloyd, 1990) It has a Chinese stand collar with white appliqué detail. The waistband has red wool appliqué detail and below that is a knife pleated skirt. The jacket secures with hooks and bars at the centre front but has large faux buttons as a design element.

(NGA, 2011)                   (NGA, 2011)                          (Schouvaloff, 1997)

The costume for a male guest consists of cream trousers with painted wavy lines representing water. The woolen terracotta frock coat has traditional Doric style columns painted/appliquéd on both sides from the waist down. At the centre back between the Doric columns is a pattern of bricks. There is a faux light green barathea (a soft fabric with a twill weave) waistcoat. This is sewn as part of the jacket, as is often done in ballet costuming. Very cleverly, there is an appliquéd Ionic column where one would expect a cravat to be.

(NGA, 2011)                                            (NGA, 1998)

Here are just a couple of examples where Ballet Russes costumes have obviously been used to inspire a fashion collection. These two examples are from Olympia Le-Tan’s 2015 Fall Collection.

 

(Olympia Le- Tan, 2015)

After Diaghilev’s death, the company disbanded. Although a number of new companies were formed and carried on some of the most popular works. One of these was the Ballet Russes de Monte Carlo. They had access to many of the sets and costumes and were able to revive more than twenty ballets from the Ballet Russes Repertoire.

Many of Diaghilev’s dancers and choreographers formed companies; George Balanchine – New York City Ballet, Ninette de Valois – Royal Ballet, Serge Lifar – Paris Opera Ballet, Marie Rambert – The Ballet Rambert are some examples. Perhaps we will never know how much of Diaghilev’s influence has helped make modern ballet what it is today? I believe the legacy of his vision of collaboration between the arts lives on!

 

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?IRN=202245&BioArtistIRN=19455&MnuID=3&GalID=5&ViewID=2

National Gallery of Australia. (1998) From Russia With Love. Canberra: Publications Department, National Gallery of Australia

Olympia Le- Tan, (2015). Fall Collection. Retrieved from: http://www.olympialetan.com

Schouvaloff, A. (1997). The Art of Ballet Russes. London: Yale University Press

Fairytales with Diaghilev’s Ballet Russes

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.

Lady-in-waiting by Bakst (NGA, 2011)

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 18^th 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 Blue Bird by Bakst (NGA, 2011)

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)

Costume design for the Maids of Honor by Bakst (Schouvaloff, 1997)

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)

Petrouchka by Benois (NGA, 2011)

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.

Example of Vandyke boarder used on a tutu plate

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.

Pleating examples and Makansie Hensen at 2016 Prix de Lausanne wearing Odalisque tutu designed and constructed by Anne Tytherleigh of Tutu Couture and Stagewear

• 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

Exotic Escapism with the Ballet Russes

Leon Bakst achieved great artistic renown for his exotic, sensuous design style of the early (pre war) Ballet Russes (Healy & Lloyd 1990). Parisian audiences embraced the tales of passion and drama set in ‘the Orient’. The acceptance of such themes reverberated across into mainstream aspects of Paris life including; fashion, interior design, jewellery design, perfume selections and the wider world of art. (NGA, 1998)

Designing for Scheherazade, Leon Bakst used breathtaking colour combinations that some called barbaric. Amalgamations of emerald green with sapphire blue and powerful orange with rose red, would become an aesthetic he became known for. The term ‘Bakstian’ became an adjective of the time to reflect such colour combinations. (Ibid)

Design for Chief Eunuch – Scheherazade (Ingles. E, 2000)

Chief Eunuch Costume- Scheherazade (NGA, 2011)

The costume and design above is for the Chief Eunuch from Scheherazade. Its’ deep orange, silk harem pants are decorated with yellow silk horizontal bands. The turban was made from silk but was subsequently refurbished with red artificial silk. The jeweled embellishment on its front is studded with green glass gems and blue feathers cascade down the right side. White silk hearts which have been hand painted with a blue and red Persian design have been appliquéd to the red artificial silk over-skirt.

Dancing Girl Costume – Scheherazade (NGA, 2011)

This costume for a dancing girl in Scheherazade uses some of Bakst’s softer colour choices. According to Healy and Lloyd ..”the bodice is appliquéd with bright pink and green ribbon, outlined with gold gelatin seashell sequins and gold glass beads, and simulates a bolero top. The midriff section is made from pale pink silk chiffon simulating flesh, and across the waist is a belt of gold cord. The hip section is finished with a band of gold and green cord. The pants of pink rayon-acetate are hand painted with a random pattern of maroon diamonds and gold spots. The trousers are gathered into gold lame cuffs.” (Healy & Lloyd, 1990, p. 22)

Shah Zeman Costume – Scheherazade (NGA, 2011)

Design for Shah Zeman – Scheherazade (Healy & Lloyd,  1990)

The detail in workmanship on the embellishments of the Shah Zeman costume is exquisite! The frock-coat is of a green brocade with a gold metallic palmette design (an ornament of radiating petals like a palm leaf). It features a collar and hem that are edged in appliqués of gold metallic and purple silk triangles. The Turkish style trousers of purple silk are beautifully embroidered with gold braid. This gold braid is also used to create further detail on the frock-coat.

For the Ballet Russes production of Le Dieu bleu (The Blue God) Bakst was encouraged by Diaghilev to excel himself, to produce his most fantastic, his most Oriental set and costumes (NGA, 1998). I can just imagine the high expectations of Diaghilev after the huge success of Scheherazade. And Bakst obviously didn’t disappoint! He produced sumptuously embellished costumes from a fantasy land in the Far East.

Costume Design for The Blue God – Bakst (NGA, 2011)

Costume by Bakst for the Blue God in Le Dieu bleu, (NGA, 2011)

Healy and Lloyd (1990) provide a detailed description of The Blue God costume: The bodice of pale yellow watered silk is dominated by an inset of musk pink satin, which is embroidered in green, yellow and black and features a closed lotus flower (the symbol of the god Krishna). This is highlighted with rays of gold thread and small gold metal studs. The back of the bodice is appliquéd with fine stripes of green ribbon speckled with green glass beads. The short sleeves of blue satin are banded with white silk. The stiffened circular skirt of the costume is richly decorated with a printed floral silk in blues and white and is embroidered with large arabesques in pink, yellow and white.  The term arabesque, as well as being a common term in ballet, is also used to describe an ornamental design with intertwined flowing lines, as in this example. The broad hem band of pale yellow, watered silk is trimmed with embroidered, green triangles and two rows of white mother of pearl and pink studs. Over the central panel of the skirt are appliquéd two sash ends of yellow silk. Which are outlined with a border of white silk and decorated with embroidered diamonds and triangles in blue and gold.

Lessons from Baksts’ Exotic Ballet Russes Costumes

As designers and costume makers what can we learn from these Ballet Russes costumes? To me, the beauty of these costumes is in the detail! The hand painting, corded embroidery, appliqués, jewels, studs, shells, banding and binding all help to create a stimulation of the senses and extraordinary, unique costumes.

Perhaps we should all consider the use of non-traditional colour combinations, to think outside the square and combine colours or fabrics and trims that you wouldn’t normally think of putting together?

How to create a simple yet effective appliqué on a costume:

• I start by drawing my appliqué shape on a piece of paper to make a pattern or template.
• Decide which fabrics will be used for which pieces. If your design has multiple pieces you may like to label them on the pattern as I have done in this example.

• Cut a piece of fashion fabric big enough to fit all appliqué shapes. Then cut out a corresponding piece of vliesofix (fusible backing) and iron to the back of your fashion fabric.
• Using the pattern you drew earlier, cut out your appliqué shapes.  Carefully peel off the paper backing one piece at a time.
• Iron the appliqué pieces into position on your costume. Use your pattern as a template if it is a complicated design that needs careful placement.
• Stitch around the edges of the appliqué using a satin stitch (a zig zag with a very short stitch length). This can be done in a contrasting or matching colour thread depending on the result required.

The appliqués can be layered as I have done in this example to add interest and complexity to the design. The pictured appliqué examples above are from an Eastern Princess costume I constructed from a Max Hurley original design.

Next post we will look at costumes from Fairytales of the Ballet Russes.

References:

Healy. R & Lloyd. M (1990) From Studio to Stage. Canberra: Publications Department, Australian National Gallery.

Ingles, E. (2000) Bakst The art of Theatre and Dance. London: Parkstone Press Limited

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?IRN=202245&BioArtistIRN=19455&MnuID=3&GalID=5&ViewID=2

National Gallery of Australia. (1998) From Russia With Love. Canberra: Publications Department, National Gallery of Australia

Diaghilev’s Ballet Russes – Astonish me!

Costumes by Giorgio de Chirico from Le Bal, NGV

Costume by Bakst for the Blue God in Le Dieu bleu, NGV

Costumes by Bakst from Thamar, NGV

“The night in May, 1909, when Diaghilev, the impresario, brought his troupe of musicians, dancers, designers, and choreographers to Paris and opened in a theater was the turning point for all the arts. Those brilliant colours and bold rhythms put an end to the paleness and primness of the early part of the century. Nothing has ever been the same since,” Vreeland (as cited in Davis, 2010, pg.17)

Can you imagine designing or making costumes for Diaghilev’s Ballet Russes? What an exciting time to have been a part of the arts!

Diaghilev brought to being the inaugural collaboration of modern artists, designers, musicians, choreographers and of course dancers. Together they made history with the exotic, avant-garde Ballet Russes. Diaghilev, always wanting to push the boundaries was known for his declaration; “Astonish me!”

Some of the artistic collaborators are names I am sure we have all heard: Coco Chanel, Stravinsky, George Balanchine, Pablo Picasso and Henri Matisse to name but a few.

Portrait of Serge Diaghilev, St Petersburg State Museum of Theatre and Music

Sergei Diaghilev was born in 1872 in Russia and initially studied law, but didn’t regularly attend classes as he was more interested in his ambition of becoming a singer or composer. But in the end his unique talents were what made the Ballet Russes a success: his acute sense of timing, extraordinary good taste and judgement. (N.G.A. 1998) He was also known for his ability to network with a variety of people, including wealthy women patrons, who helped the company financially and provided entry into high society. One of these women was Winaretta Singer, the American heiress to the Singer Sewing Machine fortunes.

His Ballet Russes, although heavily made up of Russian artists, never performed in Russia because of the social and political situation of the time. Paris was their home and there they flourished and quickly became the epitome of modernist experimentation and Parisian sophistication.

The Ballet Russes has had a lasting effect on ballet, the arts and fashion. It was recognised in its time as groundbreaking and revered thereafter as legendary. (Davis, 2010)

Next post, we will look more closely at some of the costumes of the Ballet Russes.

References

Davis,M.E. (2010). Ballets Russes Style. London, Reaktion Books Ltd

National Gallery of Australia. (1998). From Russia with Love. Canberra: Publications Department N.G.A.