Ballerina: Fashion's Modern Muse Brochure

Seventh Avenue at 27th Street New York City Accredited by the American Alliance of Museums Hours: Tuesday–Friday, noon–8 pm Saturday, 10 am–5 pm Closed Sunday, Monday, and legal holidays Admission is free. fitnyc.edu/museum Museum information line: (212) 217-4558 Ballerina: Fashion's Modern Muse February 11–April 18, 2020 Curated by Patricia Mears exhibitions.fitnyc.edu/ballerina #ballerinaexhibition @MuseumatFIT Ballerina: Fashion’s Modern Muse has been made possible thanks to the generosity of the Couture Council of The Museum at FIT and the New York State Council on the Arts, with the support of Governor Andrew M. Cuomo and the New York State Legislature. Additional support was provided by the Society of Antiquaries of London and The Gainsborough Bath Spa. Become a Member of the Couture Council An elite membership group, the Couture Council helps to support the exhibitions and programs of The Museum at FIT. Members receive invitations to exclusive events and private viewings. Annual membership is $1,000 for an individual or couple, and $350 for a young associate (under the age of 35) or fashion professional. For more information, write to [email protected] or call (212) 217-4532. BALLERINA FASHION’S MODERN MUSE Cover: Christian Dior gown, 1947, photo: Louise Dahl-Wolfe, The Museum at FIT. Inner flap: NYCB ballerina Lauren Lovette in Behnaz Sarafpour’s evening dress, 2003. Photo: Isabel Magowan. February 11 – April 18, 2020 ew art forms have been as and exploited throughout their careers. Giselle, Swan Lake, and Sleeping Beauty, the preferred material for sportswear decidedly female as classical After the successful 1909 Parisian while sportswear designers took their cues separates. Colors emblematic of Fballet. As George Balanchine, the debut of the Ballets Russes, however, her from contemporary ballets performed in ballerinas, such as her “ballet pink” legendary choreographer succinctly circumstances begin to improve. That streamlined practice wear. tights and pointe shoes, as well as hues stated: “Ballet is woman.” Even those company, founded by impresario Sergei The more than 90 objects on view popularized by specific ballets such who have little knowledge of this Diaghilev, as well as the eponymous include: a dazzling array of tutu-inspired as “Sleeping” blue and lilac from the dance form recognize that its supreme troupe led by a fellow Russian émigré, couture gowns with boned bodices and Sleeping Beauty, also found their way into practitioner, the ballerina, is a highly ballerina Anna Pavlova, reinvigorated voluminous skirts; American ready-to-wear the collections of couturiers and ready- trained and accomplished artist who classical dance in the West and ignited a separates based on leotards and tights to-wear designers during the years of embodies modern ideals of beauty and widespread and enduring craze for ballet, and leg warmers; and footwear ranging the mid-century. To elucidate fashion’s grace, seamlessly encased in a sleek and or “balletomania.” from “ballerina” flat slippers to fetishistic appropriations of balletic elements, enviably toned physique. Her elevated So profound was ballet’s impact “pointe”-style high heels. Ballet-inspired garments are interspersed with a choice position, however, is a relatively recent that it asserted influence on many fields materials became increasingly important: selection of ballet costumes worn by phenomenon. For centuries, ballerinas, of creativity, one of the most important the silk netting known as tulle became legendary ballerinas such as Anna like other performing artists, were being fashion. At the same time, the one of the standard materials used to Pavlova and Margot Fonteyn, as well as relegated to the margins of society ballerina blossomed into a revered craft evening gowns, while knits were stars of the New York City Ballet and the and aspirational figure of beauty and Dance Theatre of Harlem. glamour, and her signature costume— The exhibition also presents the the corseted tutu—would inspire many of idea of the ballerina as a “woman of fashion’s leading designers. Beginning in style.” Over one dozen ensembles by the 1930s and lasting through the 1970s, Christian Dior, Yves Saint Laurent, ballerinas were frequently featured in and Halston and worn by stars such leading high fashion magazines. Not as Margot Fonteyn, Alicia Markova, only were their performances covered, a Maria Tallchief, and Virginia Johnson number of the most beautiful ballerinas illustrate the important role fashion regularly modeled the latest modes. played in the ballerina’s career. Many of the couture objects in Ballet’s sway on fashion began Ballerina: Fashion’s Modern Muse were to slowly diminish by the onset of the designed and made in Paris. However, 1980s. Its great, mid-century influence the popularization of classical ballet waned with the rise of youth culture throughout the twentieth century owes and the simultaneous decline of high much to the British and Americans. fashion. Even so, ballerinas benefited Imperial Russian classical ballet would from the shifting cultural winds not only survive, it would go on to that elevated their art, and they have not become the most popular performing lost the emancipated position bequeathed arts in the United Kingdom and the to them by earlier generations of United States from the early 1930s to dancers. Revering the ballerina, the middle of the century. During that fashion’s modern muse, remains an golden age, haute couture looked for ethos we embrace to this day. the first time to classical ballets such as Top left: Elsa Schiaparelli, “Sleeping” blue bolero, spring 1940. Lent by Hamish Bowles. Bottom left: Left: Cristóbal Balenciaga for Hattie Carnegie Norman Hartnell evening dress, circa 1939. Lent by evening dress, 1950. Lent by Beverley Birks. Beverley Birks. Right: Christian Dior “Debussy” Right: Claire McCardell, black bathing suit, 1948. gown worn by Margot Fonteyn, spring/summer 1950. The Museum at FIT. Fashion Museum Bath. Photo: William Palmer. .

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