![]() La Sylphide premiered at the Paris Opera House in 1832, created by Filippo Taglioni for his daughter and one of ballet’s first stars, Marie Taglioni. The following charts significant exchanges between ballet and fashion, from collaborations to inspirations, reflecting particularly a cultural veneration of the ballerina body. The spring 2017 fashion presentations were rife with balletic references, from the gossamer maxidresses modelled by professional ballerinas at Sachin and Babi to Phoebe Philo’s leather ballet pumps at Céline.īallet and fashion exist in continuous dialogue, largely because they share a common reference point: the body, which fashion historian Valerie Steele pointed out during the ‘Dance and Fashion’ exhibition in 2014. The New York City Ballet debuted its autumn 2016 season showcasing the company’s annual fashion collaborations, featuring designers Dries Van Noten, Narciso Rodriguez and Rosie Assoulin. This long-term artistic synchronicity is evident from the abundance of exhibitions, publications and collaborations in the recent past. Fashion has been integral to ballet since its inception in 17th-century French and Italian courts. Laurent was successful because he brought a fresh perspective and an unprecedented wear–ability to ballet with his well–received couture collection. Laurent simultaneously paid homage to Diaghilev’s eclecticism and to his 20 th century choreographer’s artistic collaborators, upon many of whose shoulders Laurent stood, including Paul Poiret, Coco Chanel and Elsa Schiaparelli. LONDON, United Kingdom - When Yves Saint Laurent’s 1976 Autumn/Winter couture collection referenced Sergei Diaghilev’s Ballets Russes, reporter Bernadine Morris predicted that Laurent’s taste for dance would “change the course of fashion.”įur–clad models pirouetted down the runway to Stravinsky’s composition for The Rite of Spring, donning suede capes and long striped and floral skirts evoking Russian peasant–wear. ![]()
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