Designer Costumes for Performing Arts

[MulletProof]

A few more!

Bianca Li and Maria Alexandrova in Sophie Theallet



Bianca Li and Maria Alexandrova in Jean Paul Gaultier



Bianca Li and Marie Agnes Gillot in Jean Paul Gaultier

(resize-parismatch.ladmedia.fr, frenchwink)

 

[MulletProof]

Maria Kochetkova and Sebastian Kloborg in David Dawson's At The End of the Day (2018)
Costumes by Chloé



(jack devant)

 

[MulletProof]

Emma Portner's Femme Debout (Fondation Beyeler's Bacon/Giacometti exhibition)
Costumes by Eckhaus Latta & Dashiel Brahmann



(032c)

But the video is infinitely better, shot by Elliott Sellers


If there's someone that's remotely close to Pina, without the need of an army/company, that's Emma.. so wonderfully talented. Whenever fashion is involved with her, it just elevates everything even more.. she was on the cover of Dance wearing Yohji some months ago. I may or may not have stolen the issue.

 

[HeatherAnne]

Similar thread was here: Designers and Sportswear (Activewear)

 

[MulletProof]

^ I knew I had seen something like it and that must've come up but I didn't go in cause of the title. I wonder if some posts of that thread could be moved here (automatically making it the start) while keeping this one title. They're two separate worlds, one being about creativity and expression, the other being.. sports. They also engage with fashion in different ways, mostly keeping in common functionality but opera shakes that quite a bit since excellent physical condition is not a requirement.

(now watch the merge get done arbitrarily as usual....)

 

[Benn98]

Similar thread was here: Designers and Sportswear (Activewear)

I see you've started that thread with Missoni as well! What a coincidence.
Truth be told I did not even search for 'sport' earlier because I don't consider ballet or contemporary dance to be a sport. I know, I know, LOL, you've had the discussion with ChanelCouture (who's incidentally from the same city as I) back then that it's more than that, but I just reckon the artistic component of ballet is what sets it apart from traditional sport? And, well, basically what Mulletproof said.
So can we please fish out the ballet/dance posts from that thread? It will just be more cohesive especially since we have Opera in here as well.

 

[Lola701]

Thank you @Benn98 !
This is such a glorious thread!
I’ve always loved designers costumes either for ballets, entertainers or movies!

For some weird reason, I love Alaia’s Costumes because in a way they kinda represent everything his fashion is all about: movement, comfort.
Gabrielle Chanel costumes for les Ballets Russes are in the same spirit also.

It’s interesting to see Thom Browne. We don’t necessarily affiliate his fashion to movement.

It’s such an intriguing exercise as it force designers to challenge themselves à la Rousteing.

I didn’t know that Mr Ungaro did costumes recently.

 

[MulletProof]

The costume/leotard in the last scene of Polina is also Alaia, I think (plus Preljiocaj, Glass, etc, such a gorgeous movie.. haven't found it again)

 

[Benn98]

New York City Ballet Fall Fashion Gala 2018:

Giles Deacon for The Runaway:

Alberta Ferretti for Judah:

Gareth Pugh for The Exchange:

WWD/Dance Tabs/Refinery29/Irenebrination

 

[Benn98]

Gareth Pugh for Eliogabalo. Palais Garnier, Paris, 2016:

Backtrack/Forum Opera/The Idle Woman/Opera News/Getty

 

[Benn98]

Viktor & Rolf for 2Lips and Dancers and Space. Grand Théâtre, Luxembourg, 2004:

Robert Wilson

 

[Benn98]

Vivienne Westwood for Vienna Philharmonic's New Year's Day Concert. Wien State Ballet, Vienna, 2014:

Pinterest

 

[MulletProof]

Can’t stand Gareth’s work (does he even still show? the name alone is so mid 00s) but on stage.. bam, so good, every one of these projects.

 

[Benn98]

Brilliant thread, Benn . Every time I come across fashion designers participating in dance/opera, I want to come here and share it, only to remember there's no space for that. My thoughts on this have changed so much over the years and kind of go back and forth.. I remember the first time I ended up in a room full of Don Quixote costumes, my reaction was very.. and it remained like that for a long time. I would sometimes look at what Lacroix does for the Paris Opera and think 'why can't everyone just balance it like that?'. Now when I look at some stuff, especially what they do at NYCB, it's like boy.. one collaboration gone wrong after the other, it's stage, not a fashion show.

I saw that leotard by Balmain some time ago, I don't quite remember the context but I fell completely in love and was like 'who did this!'.. only to realise it was this Kardashian dude haha. That may actually be his call, what we know as gaudy here is actually pretty mild in ballet (another reason why Lacroix has probably remained there haha).

That said, I've become far more appreciative of strictly traditional, fashion-free costumes.. La Réveil de Flore, Giselle.. in particularly these more obscure old ballets (such as Flora).. it's so amazing that there are few people (just in Russia I think) that know exactly how they should be made and look like, when you look at them and touch them, it's like traveling in time..

The most important of these intersections, beginning and end sort of thing for me, has been Pina and Yohji, nothing compares to her and to him in terms of meaning in their respective fields.

(side note: poor Hallberg gets the worst costumes...).

Only a pleasure! I've always been intrigued by fashion designers dealing with performing arts as well. In fact, my love for fashion was partially jumpstarted by a weathered, old book with yellowing pages, showing the different dance and opera form across the globe. It wasn't even that special, very slapdash, entry-level type of written copy, but the images are still etched in my mind. That's where I saw the Missoni collection commissioned by La Scala (and it wasn't even mentioned, I found out only much later by chance), and also a haunting picture of an Aida performance. Can't recall the year or soprano, but the way she stood there, statuesque in an understated beaded tasselled dress. That's just, ugh, I get speechless thinking of it. I think what also continues to make it such a memorable shot is the many garish costume renditions I've seen of Aida since. God, some costume designers really don't know when to stop. I'm talking Mardi Gras level of gaudiness.

I've been oddly impressed with the Balmain collection as well! Particularly liked the layered top for the male principal. Swathed so light and gentle, it adds a degree of sensitivity and some contrast next to the heavily embellished jackets. That's actually somewhat rare for ballet because most costume designers mostly opt for something rigid or defined to highlight the torso. He's again, someone whose runway presentations I really don't care for. Just like Theyskens. I sometimes lurk in his collection thread on here, read the comments, look at the wares and go 'yeah, still hate it', lol. But his devotion to the Salem witches production for NYCB was so adorable! Same applies to V&R. Looking at the floral bouquet dress on the clotheshorse, I probably wouldn't be able to gauge the value. But on that German Expressionist set is like a wet dream. That entire production came together perfectly.

Prada actually surprised me with her collections because while not awful at all, it's just so lazy. When someone versed in HF would look at them they will instantly guess from which season or era it comes from. The crushed gold and leather for Atilla, the ornate embellishments for Haller.

Can be a purist with certain productions as well, LOL! In general, I don't like it when fashion overwhelms a production, the performance should always be central. In the UK there's this obsession to reconstruct everything, so the few times I get to see a traditional rendition (usually in Belfast), I don't want it messed with, lol. I can maybe tolerate ambitious changes with La Bayadere, but why something like Giselle or Swan Lake?

Thanks so much for posting the video, which is really a short film, of Emma's show! Really amazed that Eckhaus Latta walked that fine line of keeping their own next to such a strong performance! That's the challenge with contemporary dance, I imagine. The movements and inversions are more spontaneous and organic in a sense, that it becomes very difficult for 'fashion' to overwhelm the performance. As it should be. I don't know how Marie-Agnès does it, but she's just the vision of poise, in a glamour sense, with each performance!

 

[Benn98]

Thank you @Benn98 !
This is such a glorious thread!
I’ve always loved designers costumes either for ballets, entertainers or movies!

For some weird reason, I love Alaia’s Costumes because in a way they kinda represent everything his fashion is all about: movement, comfort.
Gabrielle Chanel costumes for les Ballets Russes are in the same spirit also.

It’s interesting to see Thom Browne. We don’t necessarily affiliate his fashion to movement.

It’s such an intriguing exercise as it force designers to challenge themselves à la Rousteing.

I didn’t know that Mr Ungaro did costumes recently.

Glad you're enjoying it, Lola!
That Alaia production was the talk of the town, not only because of the heavy sexual undertones of the production, but also his collection. He really pushed himself. Other than the minidresses, he didn't really layer the show with all his trademarks as so many other designers often do.

It's funny you should mention Thom because he readily admitted that he's not familiar at all with designing for movement. See below, hahaha.

 

[Benn98]

Can’t stand Gareth’s work (does he even still show? the name alone is so mid 00s) but on stage.. bam, so good, every one of these projects.

Right! I don't recall seeing a collection for autumn on here, but he still shows. I almost feel he should throw himself entirely into this because whatever we are seeing here makes more of a statement than his runway work. You can also tell that like, Theyskens, he's very passionate about collaborating with the stage.

 

[Lola701]

Glad you're enjoying it, Lola!
It's funny you should mention Thom because he readily admitted that he's not familiar at all with designing for movement. See below, hahaha.

Ahaha! It’s funny in a way...
What is sad is that he didn’t really made compromises in the execution of the garnments.
I think a hole was necessary in order for the arm to have a full movement and also, it could have been great to remove the padding or have a stretchier fabric.

I would love for Alber and Rick to do this! It could be exceptional!

 

[GivenchyAddict]

Amazing thread indeed ! I love Giles Deacon work and Gareth Pugh. I was mostly familiar with Giles than Gareth though.

I am with you @Lola701 for Rick. Could be phenomenal. Clothes are also about moving and you can see true talent when a designer succeed to make flawless clothes for people who will have to move in a more "extreme" way than we usually do.

 

[reesewu]

What an exquisite thread! Thank you for making this @Benn98. This goes to show how important movement is to modeling. On the figures of adept performers, all of the clothes—even the most insipid ones—breathe a newfound sense of breathtaking beauty.

 

[MulletProof]

In fact, my love for fashion was partially jumpstarted by a weathered, old book with yellowing pages, showing the different dance and opera form across the globe. It wasn't even that special, very slapdash, entry-level type of written copy, but the images are still etched in my mind.

Ha, it was a bit similar here.. but with a book my grandma had that showcased traditional attire from all over the world. I was both fascinated and horrified. Most of the really extreme sartorial expressions were often related to dance (ritual).

The reason the Balmain and Gareth Pugh collaborations work is that their work relies heavily on gimmicks and when you take that out of the equation and focus on what you actually want from fashion, you're left with a lot of trash (the horror of opening your closet just to find a black parrot costume [Pugh] and white, embellished Kim Kardashian-esque leggings [Balmain]).. but put the former on Rothbart and it makes for good eye candy in a modern adaptation, cause the stage is more forgiving on details (ever seen dancers put on stage makeup? like decorating a cake for your worst enemy..).

I think it's important to think about volumes/fluidity (not even shapes) more so than flashiness (that Mardi Grass level you talk about).. even these Balmain pieces as pretty as they are, I would not want to roll on the floor on attached pearls (o-u-c-h).. and you can tell the dancer is like 'um NO' with that Gareth red dress, even just the cut he made calls for a minor change in choreography and that's the last thing you want.

I have only seen the Royal Ballet... not even videos from like ENB (everyone I know prefers that over TRB..) and I just feel like they're so so good, just like the French, at cherry picking what will prolong the interest in ballet for future generations in a way that doesn't bastardize it, it's sensitive but not flashy or hyped as with American ballet but not too if-ya-know-ya-know as with Russian ballet. I know that of all things I shouldn't go 'purist' about, the Nutcracker is the worst lost cause, but I think that often exemplifies the tendencies or desperation of some companies because it's just such an open playground and good income, and imo it can go so easily wrong because the theme is so subtle (expectations in love, much to the surprise of most people ) and ornamented with so much silliness that when the latter is exploited, it's like watching a train wreck. I don't think anything compares to Mariinsky/Bolshoi but the Royal Ballet follows pretty close in that one. Anyway, here's an example of desperately spicing things up:

On Aura Tout Vu for the Geneva Ballet's Casse Noisette (Jeroen Verbruggen).


[onauratoutvu.wordpress.com]

Maybe the story is good though!.. just judging the costumes (so Numero magazine circa 2007).