8/8/2019 Feature Article-Diaghilev and the Golden Age of Ballet Russe

1/2

1

Victoria Mcmahon

Feature Article

Diaghilev and the Golden Age of the Ballet Russe

In 1909, impresario Sergei Diaghilevs Ballet Russe burst onto the scene shattering the predictable

form of popular entertainment and transforming ballet into an avant-garde art form. Ezra Pound

declared artists of the new century should make it new and with Diaghilevs productions; amazing

audiences and refining ballet, art, design and music, the Ballet Russe soon became what modernity

looked and sounded like. Diaghilev and the Golden Age of the Ballet Russe, currently exhibiting

at the Victoria and Albert celebrates the first season in Europe a hundred years ago, exploring the

origins, development and long term influence of the Ballet Russe on design, choreography, music

and art.

A skilful collaborator, Diaghilev embraced emerging talents such as Stravinsky, Dubussy, Cocteau

and Massine, enjoining them to astonish me to create something powerful and original. His ability

to shock audiences has almost become the fashion norm since with designers such as Alexander

McQueen; the LEnfant Terrible, following in Chanels footsteps and designing a crimson silk

komono worn by Silvie Guillum for Russel Maliphants production of Eonnogata at Sadlers Well.

Nicholas Roerichs original costumes from Rite of Spring are exhibited to elucidate the powerful

effect the performance had on its audience at the Thtre des Champs-Elyses in Paris in 1913.

With the combination of aggressive, jabbing rhythms of Stravinskys score and the strange flat-footed fierceness of Nijinskys choreography, Rite of Spring allegedly caused a riot in the stalls.

Even today, the bold colours and patterns of the long tunics wouldnt look out of place in an

experimental dance performance at Sadlers Well.

Diaghilevs Ballet Russes performances were saturated with vivid colours and painfully intricate

costumes from some of the worlds most famous artists which Jane Pritchard, curator of the

exhibition describes as not unlike couture.

From the first performances in 1909 until his death in 1929, Diaghilev worked with Lon Bakst,

Pablo Picasso, Henri Matisse, Giorgio de Chirico, Joan Mir, Georges Braque and Coco Chanel.

These artists and designers contributed to create such a strong, aesthetic look of the Ballet Russe

that it has influenced many iconic designers from Yves Saint Laurent to Erdems current

Spring/Summer 2011 collection which mirrors the dynamic colour and form of the Ballet Russe.

Erdem had the privilege of studying the Ballet Russe archive before it was exhibited and designed a

souvenir scarf for Diaghilev and the Golden Age of the Ballet Russe after being especially

m/f

8/8/2019 Feature Article-Diaghilev and the Golden Age of Ballet Russe

2/2

2

inspired by the Bakst designs, describing them as surreal and vivid. I think its the exoticism and

escapism of Baksts work that is so inspiring and what makes it quite timeless.

The unique costumes on display shatter the stereotypical tights and tutus and are astonishing for

both their beauty and pure variety.

With the bright, flowing silks of Schhrazades first performance; a style revolution was evoked in

Paris with Baksts famous use of colour and the way he grouped these colours to create dramatic

effect.

Paul Poiret was said to be inspired by Baksts oriental fantasy and encouraged by the popular

reaction to Le Style Ballet Russe that he introduced harem style trousers, turbans and his signature

lampshade tunic to his collections.

The traditional Russian folk dress on display illustrates the traditional ethnic Russian designs and

fabrics which have had a strong influence on designers such as Yves Saint Laurent and his Russian

collection of Autumn/Winter 1976.

Chanels sleek, modern lines from her 1920s costumes are a beautiful example of how she

liberated women and allowed them to move freely which made her the perfect designer for dancers.

Chanel was a close friend of Sergei Diaghilev and was heavily influenced by Russia; her Cuir de

Russie perfume was inspired by the rich, birch scented leather of Cossack boots.

To honour the connection between Chanel and the Ballet Russes, Karl Lagerfeld the tutu in which

Elena Glurjidze danced The Dying Swan: the four minute solo piece created by the Ballet Russes

choreographer Mikhail Fokire for Anna Pavlova in 1905.

Many of these costumes show the stress and strain that the prevailing, repeat performances have had

on them, and the fact that many are nearly 100 years old. But the idea of having the ghosts of

Nijinsky, Lopokova and Karsavina together in one room is thrilling says Jane Pritchard This is

really a moment to savour...because these costumes wont be around forever.

(end)