Author: dkwong

Cultural Appropriation and Orientalism in “‘Une Chinoise’ Costume de Divertissement par Douillet”

La Gazette du Bon Ton was first published in November 1912 and was edited by Lucien Vogel (see figure 1).

Figure 1: La Gazette du Bon Ton cover, Vol. 1, No. 4, February 1913. Courtesy of the Royal Ontario Museum Library and Archives. Photo by Dori Kwong.

Produced for 13 years until its last issue in 1925, La Gazette du Bon Ton was a fashion magazine and was used as a guidebook by affluent Parisians who adored fashion and exclusivity. La Gazette du Bon Ton was an influential “deluxe book, more than a fashion periodical” (Davis 48) and it was deemed “required reading” and “set the standard for elegance and luxury in the fashion press” (Davis 48) in order for the reader to learn more about fashion and lifestyles by feasting their eyes on the advertisements and articles, as well as the hand drawn fashion illustrations that represented art, fashion and desired lifestyles during this era. La Gazette du Bon Ton was exquisitely produced on delicate paper and its beautifully vibrant, hand illustrated, fashion plates presented up to date fashion while honouring French traditions and encouraging modernity.

Illustrated by French painter and engraver Pierre Brissaud (1885 – 1964), “Une Chinoise: Costume de Divertissement par Douillet” was featured in La Gazette du Bon Ton’s, No.4, Pl. IX in February of 1913 (see figure 2).

Figure 2: La Gazette du Bon Ton – Vol. 1, No. 4, Pl. IX, February 1913, “Une Chinoise Costume de Divertissement par Douillet”.  Illustrated by Pierre Brissaud. Courtesy of the Royal Ontario Museum Library and Archives. Photo by Dori Kwong.
Pierre Brissaud trained in Paris at the prestigious fine arts school, École des Beaux-Arts and contributed to La Gazette du Bon Ton from 1912 to 1924, in addition to other publications such as Vogue (Weill 184). Brissaud also illustrated for books, novels and catalogues (Weill 184). Couturier Georges Douillet (1865 – 1930), was best known for constructing overstated and sumptuously ornate gowns for a rich, upper class clientele (Percoco) (see figure 3).
Figure 3: A silk evening dress with rhinestones designed by Georges Douillet dated 1910 – 1913. Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, Gift of the Brooklyn Museum, 2009; Gift of Mrs. Frederick H. Prince, Jr., 1967. Photo by The Metropolitan Museum of Art.

Douillet received critical acclaim in various publications for his fashion designs and he increased his international popularity by licensing department stores in New York to use his designs (Percoco). Georges Douillet achieved further success in the 1910s and 1920s when his work appeared in La Gazette du Bon Ton (Percoco).

This vibrantly saturated illustration features artwork that depicts a flamboyantly dressed woman entitled “une Chinoise”. This fashion plate features a woman of an ambiguous ethnicity and according to the “explication des planches”, the model is dressed as a “Chinese” woman wearing an outfit designed by couturier Georges Douillet that features a red and black overcoat that covers a satin pannier on a silk skirt embroidered with garland trim at the hemline. In addition, the dress below the skirt is made from lightweight silk.

This illustration is problematic because it is an example of both Orientalism and cultural appropriation. Firstly, “Une Chinoise, Costume de Divertissement par Douillet” translates to “a Chinese woman in a costume for fun/entertainment by the couturier Douillet”. Orientalism is defined by the Oxford Dictionary as “the representation of Asia in a stereotyped way that is regarded as embodying a colonialist attitude” and “style, artifacts, or traits considered characteristic of the peoples and cultures of Asia”. “Une Chinoise” was drawn wearing stereotypical chopsticks in her hair and a brown, pointed, rice paddy hat tilted to one side on her head. This is an example of Orientalism and cultural appropriation because the pointed rice paddy hat is stereotypically associated with poor, hard working farmers or labourers who work outdoors in East Asian and South Asian countries. The hat is not worn for entertainment or aesthetic purposes but it is rather utilitarian. Its purpose is to protect the wearer from the rain or from the blistering sun as it radiates down onto the worker withstanding the arduous task of difficult, long hours working outdoors, or specifically in rice paddy fields (see figure 4).

Figure 4: Farmers transplant rice seedlings in the field in Dahu village of Guzhai Mulam township in Liucheng county, China’s Guangxi Zhuang autonomous region. Photo by Xinhua, May 3, 2013.

 

In Japan, another form of this conical hat is known as jingasa (see figure 5).

Figure 5: An 18th-19th century lacquered jingasa on display at the Metropolitan Museum of Art. Photo by Lord Ameth, September 3, 2013.
Figure 6: Chinese soldiers in the Woosung camp, near Shanghai, China, illustration from LIllustration, No 3000, August 25, 1900. Photo by De Agostini/Biblioteca Ambrosiana/Getty Images.

During the second half of the Edo Period from 1700-1860, a jingasa was worn by Japanese warriors while they travelled, or once they had established a military camp (Popovic). In Japanese, “jin” means military and “gasa” means hat, therefore, this hat was used in the military as a means of protection and was not worn for fun nor entertainment. In China, this hat was worn by soldiers in the 1900s (see figure 6) and continues to be worn by labourers to the present day. The hat is called “dǒu lì” in Mandarin and translates to a “conical bamboo hat” in English. In Korea, a similar hat is called “satgat” and in Vietnam, this pointed hat is called “nón lá” or a leaf hat (Popovic). In Japan, another form of the jingasa is called sugegasa which is worn by labourers in Japan for protection from the sun and rain (Popovic). The sole purpose of this hat in Asia was to protect the wearer from the elements.

 

In the fashion illustration from 1913, Brissaud drew “une Chinoise” wearing the Asian conical hat not in a way that the hat was intended to be worn (by Asian military or by labourers who work outdoors) but rather by a wealthy, bourgeoise woman as an accessory for fun/entertainment. This is an example of both Orientalism and cultural appropriation because a person of Asian descent would not wear the rice paddy hat “for entertainment” or out of the context of working outside under the sun or in the fields, but rather as a practical way of protecting themselves from the rain or the sun while working outdoors. The illustration, “une Chinoise”, demonstrates a lack of understanding and respect to the cultures from which the hat originates.

Pierre Brissaud illustrates “une Chinoise” wearing the rice paddy hat paired with an ostentatious gown, during the evening, after the sun has set. This odd pairing illustrates that the artist is making an ignorant joke and neither respects nor understands the culture in which he is appropriating. Secondly, according to James O. Young, cultural appropriation occurs when “members of one culture (I will call them outsiders) take for their own use, items produced by a member or members of another culture (call them insiders)” (5). In addition, the Cambridge Dictionary defines cultural appropriation as “the act of taking or using things from a culture that is not your own, especially without showing that you understand or respect this culture”. Evidence of cultural appropriation is found in the chopsticks in her hair, the pointed hat, the overcoat and her hand gestures. The Oxford Dictionary also states that, “Orientalism produces non-Western cultures as unintelligible” which is evident in the way that the character is portrayed as wearing a hodgepodge of mismatched fashion and accessories. Edward W. Said posits, “…Orientalism is nothing more than a structure of lies or myths which, were the truth about them to be told, would simply blow them away” (6). This illustration is “structured by myths” because “une Chinoise” is wearing a ridiculous outfit that would not be worn in any real context. According to Edward W. Said, “Orientalism is more particularly valuable as a sign of European power over the Orient” (6) which is evident in the way that “une Chinoise” is dressed as over-the top, clownish entertainment, in comparison to other European fashion plates that show order and glamour.

According to the V&A, Chinoiserie emerged in the 17th century, became a popular style in the 18th century and its popularity continued to resonate through the 20th century. Derived from Orientalism, Chinoiserie was a European interpretation of design and art from China, Japan and other countries in Asia. Due to the rise in trade between China and East Asia, a mysteriously exotic image of Asia emerged in Europe and inspired many designers to “imitate Asian designs and to create their own fanciful versions of the East” (V&A). Moreover, the Rococo style is related to Chinoiserie in regards to fantasy, asymmetry and ornate decorations that are evident in both styles (V&A). Georges Douillet was familiar with Chinoiserie and people in Chinese clothes were the star of the Chinoiserie style, furthermore, Chinoiserie became a symbol of wealth and class. According to the V&A, “sometimes these figures were copied directly from Chinese objects, but more frequently they originated in the designer’s imagination.”

The way in which Brissaud and Douillet presented “une Chinoise” is problematic because they employed cultural appropriation in their depiction. “Une Chinoise” has an ambiguous ethnicity, is wearing a white wig, two strands of pearls around her neck, red earrings, a form fitting green bodice with a sweetheart neckline and white trim by her décolletage. The bodice cascades onto a green, silk skirt with jewelled embellishments. The 18th century gown features a green skirt that drapes over a large, satin, goldenrod yellow pannier. There is a black silk, tubular slip dress underneath the goldenrod pannier that features a white border at the hemline and two white lines down the centre paired with matching black and white flats and white socks. Worn on top of her dress is an elaborately decorated black and red overcoat that features a motif of pagodas, foliage and wildlife silhouettes. However, the red overcoat more closely resembles a banyan/kimono hybrid, which is another example of cultural appropriation.

“Une Chinoise” stands square to the viewer, in the centre of the frame while making two gestures with both her hands. This hand gesture is made by creating a fist and allowing the pinky and index finger to stick straight out, palms facing outwards, thumbs tucked in. Her hand signal resembles the “rock on” or the “devil’s horns” hand gestures that you see at rock concerts in North America. I do not think that “une Chinoise” was telling the viewer to “rock on” therefore further research illuminated the symbology of this hand gesture. Found within the freemasons’ secret society, this hand gesture represented an allegiance and exclusive membership to the occult organization (“Masonic Hand Signs Exposed”). However only freemasons knew the true symbology behind this hand signal. In Hinduism, this hand gesture is called “Apana Yogic Mudra” and it represents health and the rejuvenation of the body. It is believed that this hand gesture eliminates toxins and impurities from the body thus promoting good health (Chakraborty). In classical Indian dance, this specific hand gesture represents a lion (Charkaborty). Perhaps “une Chinoise” is making the “Apana Yogic Mudra” or a “lion” hand signal, which is another example of Orientalism and cultural appropriation. What was Brissaud’s motivation to add these hand gestures to “une Chinoise”?

Furthermore, “une Chinoise” is depicted posing at the exterior of a party, on a clear evening with stars and a crescent moon in the distance, while standing on an affluent terrace with potted, red, flowers on each side of her. She is also standing on an oriental rug that features a red dragon at the centre of it with a border of gold tassels at the edge of the rug. According to Veblen who stated, “it has in the course of economic development become the office of the woman to consume vicariously for the head of the household; and her apparel is contrived with this object in view (344)” therefore, fashion is a means of communication to represent one’s class or wealth. Evidence of this is found in the fashion, as well as the oriental rug “une Chinoise” is standing on. The oriental rug is a symbol of both Orientalism and knowledge of the outside world. Both the oriental rug and fashion were items of luxury and a symbol of wealth, power, class and conspicuous consumption. Conspicuous consumption was also evident in the white wig worn by “une Chinoise”. In the early twentieth century, wigs were also a symbol of class and wealth (“Hair Today, A History of Wigs”). During this time, a woman’s hair was regarded as her “crowning glory” and large, voluminous, white wigs styled in feminine upswept ways were on trend and in fashion during the early 1900s (“Hair Today, A History of Wigs”).

According to Bourdieu’s theory, “une Chinoise” is a person depicted to have “possession to economic capital…a taste which condemns them to like only what they can afford to like. In contrast, the bourgeoisie’s tastes are tastes of luxury or freedom enabled not only by one’s possession of economic capital but also by that of cultural capital” (Rocamora 242). Bourdieu’s notion applies to both “une Chinoise” as well as the reader, who both need money (economic capital) and awareness (cultural capital) in order to participate in luxury and extravagance depicted for consumption in La Gazette du Bon Ton. According to Bourdieu, one’s taste is a marker of class, “taste classifies and it classifies the classifier” (Rocamora 242). The “taste” of “une Chinoise” exemplifies that she has cultural capital because she knows about France, as well as Asia, and she also has economic capital because she can afford to wear a couture gown designed by Georges Douillet who was known to design gowns exclusively for ultra rich women. Similarly, the reader of La Gazette du Bon Ton also has economic and cultural capital because the reader is aware of the luxuries in life and this “journal of good taste” both steers and influences them.

 

 

 

Works Cited

Chakraborty, Shruti. “Is Rajinikanth’s Party Symbol the same as Apana Mudra for ‘Detoxification and Purification’?” The Indian Express, http://indianexpress.com/article/india/rajinikanth-politics-party-symbol-apana-mudra-detoxification-purification-5007863/. Accessed 30 March 2018.

“Cultural Appropriation”. 4th ed., Cambridge Dictionary, 2018.

Davis, Mary E. Classic Chic: Music, Fashion and Modernism. Oakland, CA: University of California Press, 2008

“Hair Today…A History of Wigs”. The Post Magazine, 1 March 2017, http://www.thepostmagazine.co.uk/brightonhistory/hair-today-history-wigs=

“Masonic Hand Signs Exposed.” Veritas Vincit: The Truth Shall Prevail, 18 Jan 2015, https://veritas-vincit-international.org/2015/01/18/hand-signals-of-freemasonryexplained/

“Orientalism”. Oxford Dictionary, 2nd ed., 2018.

Percoco, Cassidy. “Georges Douillet”. A Most Beguiling Accomplishment, 22 Oct. 2014, http://www.mimicofmodes.com/2014/10/georges-doeuillet-1865-1930.html. Accessed 30 March 2018.

Popovic, Mislav. “Kasa – Traditional Japanese Hats”. Traditions Customs, http://traditionscustoms.com/traditional-fashion/kasa-traditional-japanese-hats. Accessed 6 April 2018.

Rocamora, Agnes. “Pierre Bourdieu The Field of Fashion”. Thinking Through Fashion, edited by Agnes Rocamora and Anneke Smelik, I.B Tauris & Co. Ltd., 2016, pp. 233-250.

Said, Edward W. Orientalism. London, Penguin, 2003.

Weill, Alain. La Mode Parisienne La Gazette du Bon Ton 1912-1925. Paris, Bibliothèque de L’image, 2000.

V&A. “Style Guide: Chinoiserie”. Victoria & Albert Museum, http://www.vam.ac.uk/content/articles/s/style-guide-chinoiserie/. Accessed 6 April 2018.

Young, James O. Cultural Appropriation and the Arts, John Wiley & Sons Incorporated, 2008. ProQuest Ebook Central, https://ebookcentral-proque.com.ezproxy.lib.ryerson.ca/lib/ryerson/detail.action?docID=351045.





 


 


 


 



	


	
	






	
	

		
Tutu Designed by Göran Ljungburg
	


	

		
Tendu, jeté and grande plié are ballet terms that are a part of a ballerina’s vernacular. Comparatively, to a designer who constructs ballet costumes, the words structure, fit and durability are a part of their design vernacular. Tutus and costumes have a contrasting, dual responsibility: the garment should appear light and whimsically ethereal, but at the same time, there is a heavy emphasis on proper design, strength and durability of the construction of the garment. Additionally, costumes and tutus are often shared amongst dancers and reused in other productions. The costumes are put through the arduous task of withstanding the intense physics of ballet: the fabric must stretch and move with the dancer’s cardiovascular exertion and extreme range of flexibility, while absorbing the sweat produced by the dancer, in addition to surviving the storing process as time slowly erodes the delicate fabrics of the costume.


The ballet and the tutu have a deeply rooted and fascinating history. The French word “ballet” comes from the Italian word “ballare” which means, “to dance”. Moreover, the word “tutu” was derived from a colloquial children’s word meaning “bottom” in French (Looseleaf). Ballet terminology has remained predominantly French, however, ballet terms are a universal language amongst dancers, allowing performers from all over the world to precisely communicate technique and choreography. Furthermore, ballet first emerged in Italy in the late fifteenth century and was later reinvigorated in France when Catherine de Medici of Italy, wed King Henry II of France (Haskell 17). During this time, Catherine de Medici initiated early dance forms into the court culture of France (“A Brief History of Ballet”). Knowing how to dance was a revered accomplishment and a testament to one’s rank in society and social status.


Dancing was reserved only for women and became popular during the early nineteenth century where women would dance in white, bell shaped skirts with a hemline that stopped mid calf (“A Brief History of Ballet”). Furthermore, the tutu was credited to have been invented by French painter and designer, Eugéne Louis Lami (Zoppi). In 1832, the first “romantic” tutu designed by Lami and was worn by Italian ballerina, Marie Taglioni (Looseleaf). Taglioni was one of the first women to perform en pointe and she did so in the title role of the Paris Opera Ballet’s “La Sylphide” (“Marie Taglioni”). The tutu worn in “La Sylphide” was a “romantic” style tutu that featured a skirt with a longer hemline (see figure 1).


Figure 1: “Marie Taglioni.” Encyclopaedia Brittanica, https://www.britannica.com/biography/Marie-Taglioni. Accessed 24 March 2018.


 


Often, ballerinas were fitted into corsets or bodices that featured over skirts or skirts with a long hemline and a hoop frame. French ballerina, Marie Camargo, simplified the design by eliminating the shoe’s heel and shortening the hemline of the skirt in 1726 (Haskell 20). Symbolically, the tutu was a simplified version of a gown from the nineteenth century that featured a form fitting bodice, a wider neckline that exposed the shoulders, an accentuated bust line and a broad skirt that featured a hemline that stopped at the ankles (Zoppi).


Special thanks to Ingrid Mida for allowing me to analyze this tutu from the Fashion Research Collection at Ryerson University. This gorgeous tutu designed by Göran Ljungburg (object ID#2014.08.025 and ID#2014.08.026), features a stunningly beautiful bodice and tutu that made its premiere on stage on May 1, 1985 in “Raymonda: Act III”, and featured the choreography of Terry Westmoreland and Marius Petipa (The National Ballet of Canada. Repertoire List 1980-1989) (see figure 2).


Figure 2: Ballet costume designed by Göran Ljungburg, c. 1985, Fashion Research Collection at Ryerson University. 2014.08.025 and 2014.08.026. Photo by Dori Kwong.


 


 


 


 


 


 


 


 


 


 


 


 


The story of Raymonda features the beautiful, only daughter of a noble family in Hungary. Raymonda is engaged to be married to a knight named Jean de Brienne but they soon separate when Jean de Brienne leaves to fight in the Crusades. Later in the evening, Raymonda has a dream where she is reunited with her love, Jean de Brienne. Jean suddenly disappears in her dream and is replaced by an Eastern knight who Raymonda does not recognize. Raymonda determines that her nightmare is an omen. In act II, a party is in full effect and an unexpected guest, Abderakhman attends. Raymonda recognizes Abderakhman as the unidentifiable knight from her dream. In an effort to win Raymonda’s hand in marriage, Abderakhman promises wealth and power in return for her love. Raymonda rejects Abderakhman, which enrages him and causes him to attempt to abduct her. All of a sudden, the knights who had fought in the Crusades return all at once, including Jean de Brienne. The King of Hungary suggests that the two knights fight to win Raymonda’s heart. Jean de Brienne wins the duel by killing Abderakhman and is reunited with Raymonda. Finally, in act III, Jean de Brienne marries Raymonda (Raymonda Ballet in Three Acts).


Thirty-three years have elapsed since this tutu graced the stage but I can still feel the energy and the brilliance that emanates from this gorgeous ballet costume that features a sweetheart neckline, cap sleeves that drape off the shoulders, a cream coloured damask boned bodice with lace, gold metallic trim and a plethora of pearls, iridescent rhinestones (see figure 3), along with a white tutu that features a gold painted skirt plate with a gold lace overlay (see figure 4).


Figure 3: Close-up of sweetheart neckline, a cream coloured, damask, boned bodice with lace, pearls, rhinestones and gold metallic trim. Ballet costume designed by Göran Ljungburg, c. 1985, Fashion Research Collection at Ryerson University. 2014.08.025. Photo by Dori Kwong.


 


Figure 4: White tutu with gold painted skirt plate. Ballet costume designed by Göran Ljungburg, c. 1985, Fashion Research Collection at Ryerson University. 2014.08.026. Photo by Dori Kwong.


 


This tutu is a “bell tutu” (see figure 5), because it is directly attached to the panty and features a softer, more flexible skirt in contrast to the significantly longer hemline of a “romantic tutu” and the stiffer skirt and shorter hemline of a “classical tutu”. The “bell tutu” shows off the dancer’s toned legs and the intricacies of each and every choreographed step.


Figure 5: A “bell” tutu. Ballet costume designed by Göran Ljungburg, c. 1985, Fashion Research Collection at Ryerson University. 2014.08.025 and 2014.08.026. Photo by Dori Kwong.


 


The gender of this garment is distinctly female and is intended for a female ballerina who has a 33–inch bust line, a 25-inch waist and 33-inch hips. The main fabrics that have been used to construct the bodice are predominantly natural, such as a thick, cotton canvas with boning (see figure 6), to emphasize proper fit, structure and durability.


Figure 6: Close-up of boning in the bodice. Ballet costume designed by Göran Ljungburg, c. 1985, Fashion Research Collection at Ryerson University. 2014.08.025. Photo by Dori Kwong.


 


The gold lace and cream coloured tulle in the tutu accentuate the delicateness of this garment and the daintiness of the dancer who wears it. As previously mentioned, costumes are often shared amongst dancers and evidence of this is found in the tags stitched into the bodice and written on the tutu’s waistband. Two tags read “Alberta Ballet” and “National Ballet of Canada” respectively (see figure 7).


Figure 7: Tags and dancer identification. Ballet costume designed by Göran Ljungburg, c. 1985, Fashion Research Collection at Ryerson University. 2014.08.025. Photo by Dori Kwong.


 


In addition, the names of five ballerinas who previously wore this costume are written on labels adhered to the inside of the costume. The names Dennis, Misa, Gavin and an additional name that is partially covered, are found written on the inside of the bodice. The surname, Witkowsky, is written on the waistband (see figure 8). Gizella Witkowsky was born in Toronto and began to perform with the National Ballet of Canada in 1975.  Witkowsky had a prolific career that spanned over two decades with the National Ballet of Canada, where she performed numerous lead roles in many classical ballets (Quinte). Witkowsky is now retired from professional dance but continues to teach master classes to this day (Quinte).


Figure 8: A ballerina’s surname, Witkowsky, is written on the waistband. Ballet costume designed by Göran Ljungburg, c. 1985, Fashion Research Collection at Ryerson University. 2014.08.026. Photo by Dori Kwong.


 


The dominant colours are cream and gold and the tutu features a floral motif of embroidered flowers decorated with rhinestone rivets. One of the most unique aspects of this garment is the amount of embellishments, which cause it to be heavier than other tutus. Usually, tutus are less complex in design, lighter and not as extensively embellished. An embellished tutu such as this one states the wealth, glamour and power of the character personified in the ballet, as well as the maturity and seniority of the ballerina who wears it. Specifically in act III of Raymonda, Jean de Brienne returns from the Crusades to marry Raymonda in this costume, which is why this tutu is so richly ornate.


As a classically trained dancer with over a decade of professional performances on my resumé, I truly treasure a tutu as sumptuously magnificent as this one because not all tutus are created equal and it is a rare characteristic to have a customizable fit. For dancers, it is not “one size fits all” but rather “one small fits all”. I marvel at the craft, foresight and the workmanship invested into this garment that is demonstrated by a second line of “eyes” in order for each dancer to customize the fit of the bodice to their body (see figure 9).


Figure 9: Customizable fit at the back closure that features a second line of “eyes” in order for each dancer to customize the bodice’s fit to their body. Ballet costume designed by Göran Ljungburg, c. 1985, Fashion Research Collection at Ryerson University. 2014.08.025. Photo by Dori Kwong.


 


The details such as a pearl lined neckline and bustline, a metallic gold braided trim, a bedazzled bodice, a gold lace overlay, delicate sleeves, a flattering sweetheart neckline, a “bell tutu” and flesh coloured elastics at the shoulders to hold the bodice up firmly, are evidence of a well constructed dance costume (see figure 10).


Figure 10: Flesh coloured elastics at the shoulders to hold the bodice up firmly while allowing the cap sleeves to drape past the shoulders. Ballet costume designed by Göran Ljungburg, c. 1985, Fashion Research Collection at Ryerson University. 2014.08.025 and 2014.08.026. Photo by Dori Kwong.


 


There is something magical about the tutu and how it makes the wearer feel when it is worn. According to Adam, “enclothed cognition” is used to describe, “the systematic influence that clothes have on the wearer’s psychological processes” (1). Tutus have a way in making the dancer feel like the goddess of her realm. At the same time, behind the smile, the tightly coifed bun and the stage makeup, the ballerina dances across the stage as the tutu bounces with every movement, while simultaneously trying to disregard the pain emanating from her feet as she continues through the graceful art of dance. Furthermore, the embodiment of boning within the bodice of a dance costume is a double-edged sword. On one hand, a bodice without boning feels like something is missing because it lacks the firm structure, but on the other hand, boning can restrict movement causing the dancer to make subtle modifications in choreography where fashion may hinder movement. This ornate tutu is a symbol of a technically advanced dance career culminating to a high point.


This costume is extremely fragile and should be handled cautiously and stored appropriately to prevent causing further damage. This garment shows wear on the panty and the colour of the floral embroidery on the skirt has faded over time (see figure 11). In addition, the delicate lace has become discoloured over the years and the hook and eye closure on the back of the bodice looks timeworn. Do better procedures exist to preserve delicate costumes?


Figure 11: Floral embroidery has become discoloured over time. Ballet costume designed by Göran Ljungburg, c. 1985, Fashion Research Collection at Ryerson University. 2014.08.026. Photo by Dori Kwong.


 


Similar to how actors say “break a leg”, dancers say “merde” to one another prior to gracing the stage. The ballerinas who wore this tutu certainly heard this term often, which in this context, means “good luck”. For some, ballet is a form of creative expression that guides the dancer, as well as the viewer, on a journey to an artistic escape. The tutu is the final piece of the puzzle that allows the ballerina to enter her ultimate realm of artistic expression through fashion and athleticism.


 


 


 


 


 


 


 


 


 


 


 


Works Cited


“A Brief History of Ballet.” Atlanta Ballet, 2018, https://www.atlantaballet.com/resources/brief-history-of-ballet. Accessed 19 February 2018.


Adam, Hajo, and Adam D. Galinsky. “Enclothed Cognition.” Journal of Experimental Social Psychology, vol 48, no. 4, 2012, pp. 918-925.


Haskell, Arnold L. Ballet: A Complete Guide to Appreciation, History, Aesthetics, Ballets, Dancers. Vol. A122, Penguin, 1951.


Looseleaf, Victoria. The Story of the Tutu. Dance Magazine, 2 October 2007. http://www.dancemagazine.com/the-story-of-the-tutu-2306873745.html. Accessed 19 February 2018.


“Marie Taglioni.” Encyclopaedia Brittanica, https://www.britannica.com/biography/Marie-Taglioni. Accessed 24 March 2018.


Mida, Ingrid, and Alexandra Kim. The Dress Detective: A Practical Guide to Object Based Research in Fashion. London: Bloomsbury Academic, 2015.


Quinte Ballet School of Canada. Gizella Witkowsky, Ballet, Pointe, Repertoire. http://www.quinteballetschool.com/admin-staff/. Accessed 20 March 2018.


Raymonda Ballet in Three Acts. Bolshoi, 2015, https://www.bolshoi.ru/en/performances/63/libretto/. Accessed 19 March 2018.


“The National Ballet of Canada. Repertoire List 1980-1989”. The National Ballet of Canada Archives, https://national.ballet.ca/Tickets/Archives/RepertoireList/1980-1989. Accessed 19 February 2018.


Zoppi, Sabrina. Vogue Italia Encyclopedia The Tutu. Vogue Italia, http://www.vogue.it/en/news/encyclo/mania/t/the-tutu. Accessed 20 February 2018.