#TutuTuesday Ballet Tutu History on 1923-09-11

Hello my darlings! It’s Emma here, ready to whisk you all back to a time of elegant grace and swirling skirts. Oh, what a wonderful adventure it’s been today. I arrived back in Paris just in time to catch a delectable ballet, and trust me, this city never fails to impress. Today is 11th September, 1923. The first day of autumn, which here in Paris feels more like a graceful waltz from summer to fall, rather than the big bang many say it is back in my beloved Derbyshire!

Now, on with the show! (Speaking of which, we’re about to embark on one.) You’ve all heard my ramblings about the history of tutus and you’ll know that tutus have had an incredibly interesting past! Today I want to take you back to a period where tutus took their shape in an incredibly elegant fashion. Today we’ll dive into a key turning point, when Serge Diaghilev and his Ballets Russes changed ballet for ever! And believe me darlings, these men and women revolutionised the ballet scene!

This all starts at the beginning of the 20th century, before the first World War! At this time, there was the romantic ballet era and the elegant classic style of ballets. And in this period, the classic ballet skirt evolved with many, many frills, tiers of silk, gauze and tulle. We’re looking at leotards, long, floor-length skirts made from different materials – all swirling with a life of their own as they twirled! They were more dramatic, more expressive than the simpler, less structured dresses worn before! They brought a fresh sparkle to ballet - a whirlwind of femininity.

Now the Ballets Russes! Serge Diaghilev’s troupe had a radical impact on dance and costumes in a major way. You know me and how much I love costumes! I don’t think anyone who ever saw his dance troupe ever looked back - it just sparked something so completely special.

Their productions were spectacular in the way they presented them. From the staging and lighting, to the scenery, and of course, costumes! Oh the costumes! And that's where we come back to the ballet skirt, which by this point in time is almost starting to become a "tutu" as we know it! But in the Ballets Russes these were in sparkling shades of red, turquoise, gold and orange! And lavishly embellished. There were ribbons, plumes, jewels – they were like jewels on stage themselves! Just think “Scheherazade” by Rimsky Korsakov (a fabulous musical choice, I might add, in the 1910 ballet from Ballets Russes) – an explosion of silks, colour and patterns, that even Pavlova and Nijinsky, the famous dancers of the time, were completely taken aback by!

Now by the early 1920s – the time we're in right now – Diaghilev was pushing the envelope even more with the rise of artists such as Coco Chanel, and the burgeoning Art Deco style, which would revolutionise not only costume and art, but the fashions, music and architecture of the next few years! This is what inspired him and the Ballets Russes to simplify! You know I love those simple, iconic shapes! His ballerinas, all wearing these exquisitely crafted and simplified skirts, became sleek and elegant and their movements appeared so effortless - everything a perfect and graceful reflection of this beautiful new art Deco style. It wasn’t about more, but about more perfect expression! These dancers on the stage, adorned with their simple skirts in bright colours and bold, geometric designs, really were works of art in themselves!

Today, 1923, the “tutu” became a simpler, more streamlined version, shorter with more movement than previous, more romantic style. These skirts weren’t just to cover the legs! They helped dancers show off the elegance, grace and precision of every single one of their movements. Imagine this… The perfect way for ballet dancers to display their agility, lightness and movement. It’s almost like wearing a second skin. It's still just a dance skirt - and the ballerina's most precious garment. And in time, with the shorter skirt, ballet would also develop and change – and a new wave of dancers such as Martha Graham and Merce Cunningham would bring a new revolution to dance – as their dancing broke new boundaries, but also the classical lines of these stunning ballet skirts.

And in 1923 - here in Paris - there's not one ballet company, there are several! It’s wonderful to watch the development of each ballet company in France, the styles and variations of choreography. Paris really is a beautiful hub for dancers, music and, yes, of course, fabulous fashion!

Speaking of fabulous fashion… Let’s talk about what I’m wearing! I found this delightful vintage find today at a tiny antique shop around the corner from the Place Vendôme. I thought this was quite a fabulous touch and had to have it! Imagine a pale peach, almost a blush, satin top, with exquisite pink and gold silk ribbons woven through. I paired it with a beautiful pair of deep emerald green trousers and my most precious possession, my lovely pink tulle tutu. Oh, this truly is one of my most precious possessions! I know I talk about tutus a lot. And that’s because I just love them so!

It has these beautifully delicate hand-sewn pink silk and silver embroidery patterns down the front. Just think - hand-sewn! - all adding a splash of Parisian flair! (Of course, the design came from the beautiful Ballets Russes, back at the beginning of the 20th Century. ) Of course, as I’m a time-travelling ballet enthusiast, a good tutu is essential to complete the look. So that’s my new look, as we journey back to my beloved England on the train – which is another story for next week.

Well, this tutu tale is going to have to be put on hold for another time! I hope you all enjoyed this peek into the fabulous, fabulous world of tutus in Paris in the early 1920s, I just know you will all be dashing out to a performance this evening, a beautiful performance in a beautiful theater with lovely dancers dressed in glorious tutus.

Catch you all next Tuesday. Don't forget to post your favourite tutu looks in the comments.

Love, Emma xx