#TutuTuesday Ballet Tutu History on 1887-04-12

Hello lovelies! It's Emma here, your pink-tutu-wearing, time-traveling fashionista, bringing you another dose of tutu history for your Tuesday! 🎉

This week, we're pirouetting back to 12th April 1887. Imagine, my darlings, a world without "Black Swan" or "Moulin Rouge," a time when a tutu was something special, a whisper of delicate fabric hinting at a world of grace and artistry.

Now, hold onto your tiaras, my darlings, because 1887 is a big year for the tutu, even though it may not be obvious. Think of it as a prelude, a quiet hum of anticipation just before the grand chorus kicks in.

Firstly, let’s journey to Paris. Degas, the master of the Impressionist movement, was hard at work immortalizing ballet dancers with his brush. It's fascinating to note how even at this stage, Degas wasn't interested in painting ballets' extravagant narrative aspects; instead, he was enthralled with capturing the ephemeral beauty of dancers in practice, those moments where their forms, illuminated by fleeting glimpses of natural light, seemed to whisper the secrets of dance.

Imagine this! Degas painting in the rehearsal room, the floor creaking with each delicate step, and the ballerinas practicing their turns, all bathed in that shimmering Parisian light, their movements flowing like whispers of pink fabric… Degas would never quite nail it. There was, for Degas, a sense that the dancer’s essence – the joy of dance – was something he would never be able to truly capture. His work doesn’t tell you the story, it allows you, dear reader, to fill in the gaps, to see, through the layers of paint, the soul of a dancer as she steps into character, her own form dissolving into the artistry of the ballet itself.

It’s during this period, in the late 1800s, that ‘the romantic tutu’ begins its graceful rise, like the delicate brushstroke of a degas masterpiece. A slightly fuller version of the earlier, tighter style, this ‘romantic’ look began to gain momentum as dancers like the famous Carlotta Grisi in “Giselle” (you can probably imagine the dramatic stage-entrance – I can hear the gasped “Ohs” of the audience even now) – inspired ballet’s progression toward a new era of dramatic, flowing lines, full of poignant narratives, delicate whispers and breathtaking movements.

The romantic era's ballet tutus still had those classic ‘romantic tutu’ characteristics we see now – that short skirt that flowed freely while dancers performed, emphasizing their long, silky lines and movements - but they also added this beautifully billowing frilled or tiered layering effect - the tulle really came into its own! It was more elegant than the previous style, hinting at an ethereal softness, which of course is a lovely, subtle reminder that ballet has, at its heart, that graceful and flowing quality that really does make you think of ethereal creatures - the story of Giselle for example, who turns into a wraith of wind and leaves, is perfect in that light, airy look.

Now, here's a fact for you, my darlings. “La Fille Mal Gardée” - one of the first romantic ballets which, we must acknowledge, had a dramatic impact on the future of ballet (don’t forget – in this time, people still had the rather curious idea of dancing being 'just about’ getting a little exercise rather than serious performance art ) - “La Fille Mal Gardée” was premiered in 1828! Think about that - nearly 10 years before the start of this blog’s current journey - how brilliant! The ‘Romantic era’ began quite early, though as an exciting concept - but it was slow in its development. That period in time saw the tutu itself, that piece of fabric, become more expressive - you can see the changes on stage through the romantic, dramatic tales like *“La Fille Mal Gardée,” * where characters would literally take flight – we can see those moments coming into focus in 1887, with degas catching all this nuance. It really did make you feel like you were watching fairies, sprites and wispy creatures performing under a starry night. And isn’t that lovely, especially with Degas' light brushstrokes showing them off!

I bet the stage designs were divine too! If you could only see it! The fabrics used for tutus in that period, those late 1800s, were almost an entirely new kind of magic. Just picture these shimmering creations made from cotton, linen, and – ta da, a little sprinkle of the magic – real, shimmering silk. It’s almost mind-blowing, right? If only they could invent a time machine. I can practically imagine the colours! Imagine seeing these dances for yourself. They’d be magical. But wait! – remember I’m a time traveler? That’s how I’m getting my fix on all those magical colours and shapes. I bet you’d be thrilled too.

Now, as if Degas and the Romantic era weren’t enough, let’s pop over to the theatre! 1887 was a pivotal year in England’s dance scene – an era defined by the glorious ballet stage productions. And it wasn’t just one city either, although, darling, let’s be honest, London was THE PLACE! Theatres were crammed full of exciting, dramatic, daring performances! Oh, my darlings, I feel I must travel back to those times soon. I need my dancing fix, right here, right now. Ballet has a heart and soul, it’s so dynamic. And you know what else is fun? This period in time - and this is what makes me feel quite like I can time travel, though I’m not even sure why I can – that period from the mid 1800s was just so important for fashion! So we’ve got Degas and this amazing ballet season in London in 1887? And you know what? Tutus just started to take flight, becoming something truly special - something that really put the heart into what dancers were already doing and it felt almost like a revelation.

Let me whisk you back to Derbyshire for just one second - I think it’s so interesting that the same era when all those ballerinas and actors were busy dancing and acting in London (that must have been something special, let me tell you!), England itself began the first steps of what was going to become the Royal Ballet! How incredibly exciting. Just to have those talented dancers from our dear little countryside stepping onto the big London stage and going on to make their marks. We have the wonderful, daring ballerinas from the late 1800s in England, and a vibrant world in London full of creative artists in fashion and theatre who knew exactly how to wear those lovely romantic tutus and really embrace all that Romantic flair.

Anyway! Time travel calls. This post is for you – for your next tutu project, your next visit to the theatre, and if you happen to be wandering round some pretty shops, or taking a trip to see one of “Degas’ paintings” – don't forget what he is doing with light! - remember what Degas did in 1887: he made his mark on the ballet world and the era for a good reason, as a reminder, a whispered note from the past: don't underestimate the importance of small changes and little details because they all contribute to making that perfect art piece, or fashion item.

Well, lovelies, until next week when I'll share another fantastic #TutuTuesday, don't forget, you can catch all my ballet adventures over at www.pink-tutu.com! Don't forget to leave me a comment or send me a note to say hello! 🌸💖✨

Emma.xx

P.S. I’ve found some more fascinating tidbits for your next outfit shopping day, my dearies. Those Parisian designs from the mid to late 1800s - how about a beautiful long sleeve top to keep those arms warm when you are taking those dramatic ballet moves? You can layer a pretty, high necked, embroidered cotton top (yes darling - just imagine that delicate lacework, with perhaps a sprinkling of pearls – a little bit of glamour, it would just make those ballet tutus go 'click', it’s so wonderful and full of romance). Don't be afraid to get creative, to find some lovely embroidery for that special ballerina in your life, and why not a charming floral-print scarf? Don’t forget those pastel shades, just as delicate as ballet tutus for your special #TutuTuesday, for a beautiful ballet show you’ve got lined up. It'll make your outfit just so gorgeous. 🩰🌸✨