Ballets Russes Style: Diaghilevs Dancers and Paris Fashion

1. Ballets Russes Style by Mary E. Davis from Reaktion Books.
2. Ballets Russes Style: Diaghilev's Dancers and Paris Fashion - Mary E. Davis - Google Книги;
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Please try again later. An original approach to a well documented history of the most important dance phenomenon of the early twentieth century. Very informative and stimulating study of fashion as influenced by the designers, painters, composers and choreographs of Diaghilev's troupe. A welcome addition to an already abundant collection of studies on the subject. Especially interesting are the pages concerning the couturiers: Paul Poiret ,Coco Chanel. But why are Jeanne Lanvin and Madeleine Vionet missing from the lot?

None the less a fascinating approach to the subject, richly illustrayed and well designed.

Kindle Edition Verified Purchase. A very thorough study of an incredibly interesting topic!

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However, better illustrations would have been greatly appreciated. Often a painting or a photograph is mentioned but never shown. It stimulates to do one's own research but is quite frustrating. The book is well-written, informative and interesting. Not only did I learn fascinating information, I thoroughly enjoyed reading it.

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Learn more about Amazon Giveaway. Diaghilev's Dancers and Paris Fashion. Set up a giveaway. Customers who bought this item also bought. The Art of Enchantment: Diaghilev's Ballets Russes, Nancy Van Norman Baer. Diaghilev and the Golden Age of the Ballets Russes There's a problem loading this menu right now. Learn more about Amazon Prime. Get fast, free shipping with Amazon Prime. Get to Know Us. English Choose a language for shopping.

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Amazon Drive Cloud storage from Amazon. Not so much fashion in the sense of the sewn frock, as fashionability, a conjunction of perfomed glamour, conspicuous outrage, publicity and pizazz that Diaghilev exploited so well. Davis wrote in her previous book, Classic Chic , about the relationship between couture and modernism in music at the start of the 20th century.

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And Diaghilev's experiment with ballet was created for export to Paris, not only because he had made financial and social connections there with exhibitions of Russian painting, but because he grasped that besides being art's pre-eminent city, it led in the luxury trades, and in new media, especially magazines that reproduced photographs in gravure.

Like the emigrant luxury tradesmen who became the first Hollywood moguls, he understood that the artistic future belonged to images of overt eroticism. He had far bolder taste than a studio chief such as Adolph Zukor, and he pitched creations by Ravel and Matisse, Prokofiev and Braque at sophisticates, yet both made empires out of the shift in perception that came with advances in photography.

In the s, the invention of moving pictures, plus shorter exposure times for still pictures, made it possible to catch human gesture, while cheaply available photographic reproductions promoted the change in body consciousness. The desirable form retreated nearer the bone, and bones in motion at that, after most of a century of woman as immobile, corset-sculpted upholstery and man as stuffed shirt. Davis links these developments perhaps too tightly. It's more interesting that all of them responded to wider creative and technical discoveries.

Fokine knew of the pre-Diaghilev free movement of dancers Loie Fuller and Isadora Duncan, uncorsetted and unshod by revolutionary choice, and also because of their American-born orneriness. Chanel, whose father had flogged men's underwear of factory-knitted stockinette jersey , was aware from childhood that the drab stuff draped well, and drapery on the natural body was readable as sexy. From about , Chanel cut skirts from it for her first boutique.

The details of these books intertwine elegantly when consulted together. In an unretouched portrait of Nijinksy as the slave in Scheherazade , elbow wrinkles are visible in his grey-brown allovers.