The Nutcracker - Snowflakes costumes

For my practical work I've decided to use the snowflake character from The Nutcracker because from the shortlisted three costumes, they are only characters participating in the original script. I made a research on snowflakes costumes which were displayed in different Nutcracker performances recently.

The dancers from New York City ballet are wearing Romantic white tutus and very pale blue tops with small silver crowns on their heads. The costumes are accompanied by interesting accessories on the hands and are are holding items with small oval white shapes which are remaining of snowflakes.

Annual holiday performances, New York City ballet, 2006

The Hong Kong designs are quite simple, without additional accessories and with any "snowflakes". Designed by the British designer Peter Farmer, the costumes look like classic ballet dresses. They are entirely white, with pancakes tutus and small oval hair accessories.

Hong Kong Cultural Gran Center Theatre, 2007

San Fransico's ballet dances are presenting as interesting combination of two different tutus. The snowflakes are wearing white dresses with Romantic tutus and the Snow Queen is wearing white dress with pancake tutu. Both dresses have some interesting shinning decorations on the dresses and the costumes are accompanied by crowns. The costumes are designed by designer Martin Pakledinaz.

Dance in America: San Francisco Ballet, 2009

These next costumes from 2012 are represents in a really interesting and untypical. The dresses contain of many asymmetric layer, with longer back side and shorter front side. The color are also a bit brighter and bravely applyed than in the previous dresses.

The Washington ballet, 2012

The Northern ballet also shows some really noticeable costumes. The dresses are long-sleeved with 3 different sized layers. The bright blue color endings on the entirely white dresses add a sense of freezing which is additionally strenghten by the shinning accessories covered with icicles. In my opinion, those are one of the most successful snowflake costumes.

The Northern BAllet, 2012

Sources:
http://www.nytimes.com/2006/11/27/arts/dance/27nutc.html?_r=0
http://www.ballet.co.uk/magazines/yr_08/jan08/nr_rev_hong_kong_1207.htm#bigpic
http://interactive.wxxi.org/highlights/2009/11/dance-america-san-francisco-ballets-nutcracker
http://www.washingtonlife.com/2012/12/11/performing-arts-washington-ballets-the-nutcracker/
http://northernballet.com/?q=the-nutcracker

Costumes for ballet

As every other dance ballet has developed some specific types of costumes  which are worn by the dancers and are the best approach to reveal the movement of the body and sillhouette in order to look beautiful on stage. I will focus this article mostly on the tutu skirt  and its variantions, the cloth element which is considered to represent ballet as a dance.

•  Romantic tutu which was actually the first tutu created in 19th century during the Romantic ballet era, as I already mentioned in my historical article. It was worn by the famous ballerina Marie Taglion in La Sylphide performance, 1832. The romantic tutu is a skirt with three-quarter lenght, belt-shaped. The matherial it is made of is tulle. It is free flowing between the ankle and the knee of the ballerina. 

• Classical tutu has two vartions - bell and pancake. Both are really short and stiff skirts. The Pancake Classical tutu extends outwards from the hips into a pancake shape. The Bell Classical tutu fitted bodice, it's longer than the pancake classical tutu and its shape is more slight (like a bell). The pancake skirt has more layers and for that reason usually requires a wired hoop.

A pancake tutu worn by Aurora in Speeping
Beauty, Royal Ballet

Classical bell tutus in "The Dance Class"(1874),
Edgar Degas painting

• Balachine/Karinska tutu is also really short. This skirt has less layers than the Classical one. It looks similar to the pancake tutu but has a softer flow and does not require a wired hoop. 

Balachine/ Karinska tutu originally designer for George Bizet's Symphony in C

• Platter Tutu is a skirt with almost flat surface which straights from the waistline of the ballerina. It is also very similar to the pancake tutu.

Platter tutu in "Sleeping Beauty'", American ballet theatre

All the different types of tutus are still created for variety of ballet performances. It depends mostly on the costume designer's vision for the dance. The Romantic one is showing less of the body of the dancer and her moves so I'm considering it as least possible for my practical work but on the other hand, I'll surprised to discover that most of The Nutcracker performances use exactly a Romantic tutu to represents to dress "the snowflakes".

Sources:

http://en.wikipedia.org/wiki/Ballet_tutu

http://oliviatothepointe.blogspot.co.uk/2011/06/history-of-tutu.html

http://blog.diavio.com/2012/03/26/tutu-anyone/

http://en.wikipedia.org/wiki/File:Degas-_La_classe_de_danse_1874.jpg

http://en.wikipedia.org/wiki/File:Alexandra_Ansanelli_Aurora_Sleeping_Beauty_Royal_Ballet.jpg
http://www.pinterest.com/pin/560979697306484052/

Brief History of Ballet

In order to gain as much information for the ballet dance as possible I started to explore its origin from the beginning. For that reason, I made a research on some of the most important historical moments which were essential for the development of the ballet dance as the contemporary art which it is nowadays.
 The ballet dance has emerged in the 15th century in Italian Renessaince and then has been spread to France. The first ballet performances were attended by aristocrats and were organised as lavish events and spectacles mostly in courts.
The most famous aristocrat who had a great influence in spreading and funding the ballet dance from Italy to spain was Catherine de Medici, the wife of King Henry II. The Italian noble woman created a programme called Ballet de Cour had a great contribution of the developing of arts, inspired by her father-in-law King Francis I of France who was famous of hosting great number of artists in his court. The programme Ballet de cour included also costumes, decor, music and poetry.

Henry XIV in the role of Appolon

Another great influential name in the Ballet de cour was Louis XIV (also known as Louis The Great and The Sun King). He was a great fan of ballet and also a dancer himself. He played more than 80 roles in 40 major ballet performances among which Apollo and Netpune in Les Amantes Magnifiques (1670), and an Egyptian in Le Mariage Force (1664). The Sun King is considered as a patriarch of the Classical ballet in the mid 17th and early 18th century. One of his most noticable contribution to the ballet dance was hiring the composer of his court ballet dances Jean Baptiste Lully in 1661and establishing Academie D'Opera (1670) - an which produced French Opera performances.

Interesting fact about the early court ballet performances were that they were entirely danced by men until 1681. Another interesting aspect of court dances was that the performers and performances were seen from three sides until they were moved to stage where seen only from one side.
In 1672, Jean Baptiste Lully renamed Academie D'Opera into Academy Royal de Musique and soon after that his applyed his vision turning courts dances into art spectacles by trained dancers as the performances continue to developed through the next decades with more specialised choreography.
Latest important happening in the Classical ballet was the establishing of the dance school of the Paris Opera which is the oldest one which still exists.
The next important stage of ballet was the Romantic ballet which was mostly developed in the mid 19th century. This movement was developed mostly by some French venues and also Her Magesty's Theatre in London. The Romantic ballet is considered to have begun in 1827 with the ballet performance La Sylphide with the particiation of the ballerina Marie Taglioni. After the first court performances were danced mostly by men, in the romantic ballet the focus of the dances is moved to the figure of the female dancer - the ballerina. The dances from this era also started to apply some prototypes of the modern ballet dancer which I'll explore in a separate article. Another interesting aspect of the Romantic dance performances were the theatre sound and light effects part of the performance, including gas lighting and candles.

An example of the extravagant costumes Serge
Diaghilev was using in his performances.
Costumes for brigands in Fokine's ballet
"Daphnis and Chloe", designed by
Leon Bakst, 1912

During the the end of 19 and the beginning of 20th century, some other countries started to promoted and develope the ballet as a dance. Ballet becomes extremely popular in Russia brought from Paris by Serge Diaghilev. Diaghilev estalish a Russian ballet company called The Ballet Russes in 1911 which became famous with extraordinary costume designs. He's performances were a mixture of fashion, theatre and daily life. Although, most of the time his company was struggling financially and existed for less than 10 years, his performances continue to an inspiration for some modern ballet performances today.
Nowadays, most of the classic ballet performances are still being performed around theatres and halls worldwide. Although, there is some critism about the lack of creation of new ballet performances, there are many choreographers who are applying ballet techniques in their performances.
"Ballet is still relevant because it still has the capacity to move, challenge, excite, provoke, our human sensibilities in ways no other art form can." (full interview:) -  says Wayne McGregor, British contemporary choreographer and director, who is applying some ballet techniques in his art work.

Sources:
http://en.wikipedia.org/wiki/Ballets_de_cour
http://en.wikipedia.org/wiki/Catherine_de'_Medici#Patron_of_the_arts
http://en.wikipedia.org/wiki/History_of_ballet#Russia
http://www.pbt.org/community-engagement/brief-history-ballet
http://www.vam.ac.uk/content/articles/o/origins-of-ballet/
http://www.findingdulcinea.com/guides/Entertainment/Ballet.pg_0.html
http://en.wikipedia.org/wiki/Romantic_ballet
http://danceinhistory.com/2014/01/16/the-ballets-de-cour-of-louis-xiv/
http://californiaballet.wordpress.com/2010/05/24/louis-xiv-and-the-birth-of-classical-ballet/
http://dance.about.com/od/historyofdance/f/Court_Ballet.htm
http://californiaballet.wordpress.com/2010/05/24/louis-xiv-and-the-birth-of-classical-ballet/
http://en.wikipedia.org/wiki/Louis_XIV_of_France#Ballet
http://www.russianballethistory.com/
http://en.wikipedia.org/wiki/Russian_ballet
http://www.vam.ac.uk/content/articles/d/diaghilev-and-the-ballets-russes/
http://www.randomdance.org/wayne_mcgregor

http://www.ballet.co.uk/magazines/yr_02/dec02/interview_wayne_mcgregor.htm

[digital image] Available at: http://residencesarabande.wordpress.com/2013/01/16/la-danse/ [Accessed 28/05/14]
[digital image] Available at: http://www.vam.ac.uk/content/articles/d/diaghilev-and-the-ballets-russes/ [Accessed 28/05/14]

Jeniffer Henry (Flock Flock Flock) interview

I managed to get in touch with one of the designers (or artist as she prefers) explored in my research part. I was excited to discover her creations actually were quite often involved in performing arts which will have a great effect on my practical work as I was interested in using cellophane (one of the Jennifer Henry's favourite materials). We also covered some interesting topics such as techniques of creation, aspects of impact, materials cost and her inspirations. Here is our conversation:

1.       As I noticed from your website and profile, you’re working mostly on fashion photo sessions, reviews and charity events. Have you ever designed or thought about designing costumes for theatre or other forms of performing arts?

I’ve currently created more than 300 pieces for a wide variety of purposes, including the performing arts.

Here’s a collection of gowns I made for a performance at The Smith Center with Circus Couture. CC is an annual event that showcases many different performers all to benefit childhood cancer charities. 

Link for full collection: https://www.facebook.com/flockflockflock/media_set?set=a.4510810541717.165229.1634222739&type=3

 I’ve also created a number of pieces for nightclub productions including the ambiance dancers at Hyde Bellagio and Marquee Day/Nightclub at The Cosmopolitan, including Kaskade’s Summer Lovin’ residency at Marquee 2013 .

Full collection from Hyde Bellagio here: https://www.facebook.com/flockflockflock/media_set?set=a.2777507850233.130478.1634222739&type=3

In addition, I’ve created a number of pieces for House of Tribes performing arts group based in Atlanta, GA as well as numerous accessories for performances of The Vagina Monologues and a whole host of outfits for singers, musicians, actors and other live performers.

How applicable are your dresses in an actual performance? Are they tested to sustain different movements and dances and to be worn many times in a longer period (2 weeks or a month for example)?

I create every piece with the intended use in mind. So if a garment must be torn apart (as you can see here in a few of my fashion films  http://vimeo.com/56604326, http://vimeo.com/70751440, http://vimeo.com/album/2184853/video/55474822, http://vimeo.com/64751799, http://vimeo.com/60354799 ) then it comes apart easily and beautifully.

 If it must be made of a delicate material but must also be strong enough to endure a few events/uses then I construct it accordingly (as you can see where with my award winning Charmin Toilet Tissue gown and my Subway Restaurant gowns.

Charmin Toilet Tissue gown

 If a piece must be worn many times and be able to endure the stresses of dynamic movement, then I make it to ensure that my pieces will hold up well under those conditions. For example, each batch of pieces that I made for the nightclub acts lasted 5 weeks, were worn by multiple dancers 4 nights a week.

What technique/s are you using while creating your gown – sewing, gluing or other (if it is not a designer’s secret)?

Almost every design I create only uses double stick Scotch Tape, Office Depot brand heavy duty packing tape and cellophane or tissue paper. Occasionally I’ll use masking tape, duct tape, staples and poster board, foam paper, holiday ornaments and pipe cleaners. Aside from using tulle and satin ribbon as an accent, there is no fabric involved in my designs. And there is absolutely no sewing. Although my art garments are very wearable and made using some principals of traditional fashion design, they are in no way typical clothing. 

What is the average price for the materials for one of your dresses?

After creating more than 300 pieces, there really is no average price. I’ve spent as much as $500 on materials for a single gown and I’ve made pieces from recycled materials that I received for free. Material costs to create the large scale gowns I make are typically more than people expect because a single package of black gift tissue is only $3.99 but to create a gown it takes 100 packages or more. And that doesn’t include the spools of double-stick tape, sewing scissors, fit form or time that it took to complete. 

Cellophane and tape gown

Which aspect of your work do you think has the greatest impact on the observers – the colors, the design itself, the final products or other?

I think the biggest impact comes from the realization that these otherworldly textures, dramatic silhouettes and mystifying movement displayed by my gowns when worn by models originates from very common sources. I’ve taken things that we all know: tissue paper, wrapping cellophane, party supplies, and tape and created something so unrecognizably glamorous it seems hard to believe. Another element that is always shocking to people is how very wearable these outlandish art garments are. Unlike many artists working the genre, if the piece I’ve created is not truly wearable, I don’t consider it a success and so I am always working to make my pieces more comfortable, easier to take on and off while maintaining the intrigue of their unexpected aesthetics.

Would you share some other artists or designers which had inspired you to become a designer?

I wouldn’t consider myself to be a fashion designer but more of an artist who creates wearable sculptures. And in that vein, I wouldn’t say I was inspired by any other creative to do what I do. However, I do appreciate fashion and I am always interested in designers who are creating beautiful pieces. Karl Lagerfeld is perhaps the best example of a designer who has worked hard to create new an exciting designs for a number of high profile fashion houses and although each collection he directs is unique to the brand, it always has a mark od sophistication and whimsy that is identifiably Lagerfeld. Among the many visual artists I admire is Marilyn Minter, most famous for her darkly glamorous video art pieces and photography where she uses her own form and different combinations of materials to make strangely beautiful works.  

References:

Jerry Metellus, 2012.Circus Couture 2012 promotional imagery [digital image]. Facebook Available at: https://www.facebook.com/flockflockflock/media_set?set=a.4510810541717.165229.1634222739&type=3
n.d., 2012.n.d. [digital image]. Facebook. Avalilable at: https://www.facebook.com/flockflockflock/media_set?set=a.2777507850233.130478.1634222739&type=3
Brandon Lundby, 2012.  [digital image]. Facebook. Avalable at: https://www.facebook.com/flockflockflock/media_set?set=a.3784303299490.148342.1634222739&type=3
Brandon Lundby, 2013. [digital image]. Facebook. Available at: https://www.facebook.com/photo.php?fbid=10200780167259894&set=a.10200384857057386.1073741825.1634222739&type=3&theater