Welcome back, lovelies! It's your favourite Tutu Tuesday, and this week, I've taken a little trip back in time to the summer of 1902. We're on the continent now, darling! Paris, to be exact! It's always so vibrant here â the smells, the sounds, the fashionâŠand oh, the tutus! Just like any good ballet aficionado, I just had to do a little vintage fashion exploring, and boy, oh boy, I've got some fabulous discoveries for you!
As always, I've got my trusty pink tutu on. After all, it's a pink tutu kind of day! Even the French love a good bit of pink! I'm currently in a quaint little cafĂ© overlooking the Seine. There's a gentleman sketching with a lovely view, a lady with a bewitching hat reading a book, and a beautiful couple whispering secrets into each other's ears. Truly picturesque, isnât it? But the real story is whatâs happening in the world of ballet!
Today, my lovelies, we're venturing into a fascinating time, just as ballet was starting to make waves in a way we would now consider more modern. It was 1902! The grand old classics of Giselle and Swan Lake were still going strong, captivating audiences across the globe. But there were exciting developments happening too, setting the stage for the dynamic evolution we've seen in ballet over the last century.
This period was ripe for innovation. Serge Diaghilev and his Ballets Russes were in their infancy, bringing a new kind of dynamism and creativity to the stage. And I was lucky enough to get my hands on a copy of his production of Schéhérazade at the Opéra de Paris. It's mind-blowingly exciting! Imagine it, lovelies! Imagine the costumes!
Imagine Anna Pavlova, one of the world's greatest ballerinas, on the scene! I've even found some vintage photographs of her in her performance at the Théùtre du Chùtelet. What a dream to be in a performance where the dancers moved with such precision and grace.
What to wear to a performance
And speaking of performances, did you know the fashionable Parisians wore the most amazing hats, and their evening attire, Iâll just say, was a far cry from our modern ballerina chic! And how could we forget about those intricate lace gloves? We could not possibly miss a ballet with exposed forearms, lovelies. The very thought is scandalous! They truly had the most stunning silhouettes in this era â think luxurious fabrics, elegant lines, and a touch of flamboyant detail. If only I could steal their wardrobes!
While I haven't spotted any pink tutus out on the Parisian streets â you would think Iâd be disappointed â my goodness! We were so far from those, the modern dance scene that we know today. Tutus, of course, they were a crucial part of the ballerinaâs uniform back then, and very much still are now! But, a few key differences! We were a world away from those âpoetic tutuâ that were coming into vogue just a few years later.
Think about it â at the end of the century, the Romantic era with tutus made from layers upon layers of tulle, those beautiful "poodle skirts" - had passed. In their place were tutus like âLa Danse de lâAuroreâ that used a fabric called âmarquisetteâ instead of tulle, because you could then add decorative elements such as ribbons and fringes - something the traditional tulle just wouldnât allow. But that would have been unthinkable in this period, where tutus were definitely still made from tulle, darling. *In fact, a popular ballerina of this time was considered to have invented the now ubiquitous ballet tutu, *Carlotta Grisi. In the world of ballet, it was her and her elegant style and skill that was causing such a stir. *Now you can imagine the thrill when *Carlotta Grisi introduced the tutu made of several tiers of fabric, for her famous and most acclaimed ballet Giselle. * Imagine, my dears! That is the history you need to look for! Itâs been 120 years and her design is a lasting impression upon ballet fashion that has never been superseded! *
Just a fun fact! At the time, I also found an incredible reference for our little pink friends to note. In 1902, the famous Russian choreographer Mikhail Fokine, the choreographer of that incredible Scheherazade, started to incorporate new concepts like âdemi-pointeâ â when you just dance on your toes â something that hadn't been so much of a feature until this point, so the tutu that the dancers wore for the ballets in his repertoire reflected those new trends. This movement became integral for modern ballet. Thatâs why we get the term âmodern ballet.â So, if you're ever attending a show of Scheherazade, look out for how much they use âdemi-pointe.â
And, in case youâre in need of inspiration â I know, you might be thinking of popping on a tutu. Maybe get one from a Parisian vintage shop - because donât think that they are only to be seen at ballet class. And maybe weâll see more tutus out and about, and even a bit of the dance of the Aurora on a summerâs day in Paris! You could even try out the modern âdemi-pointe,â * but just be careful, as youâve got to watch your step. But what I have discovered, my little pink angels is: itâs definitely not about wearing a pink tutu because *weâre told to wear a pink tutu, * itâs about taking the initiative for *why you would want to wear a pink tutu. And when it comes to finding the right tutu for the dance you want to do, whether youâre performing on the Parisian streets, or in your home, your imagination can soar! Iâve discovered for my dear pink angels that the world is truly your stage, youâve only to create the play! And now it is time for me to dance. Au revoir, mes chĂšres!
