Ballerina skirt

Last updated
Skirt designed by Barbara Karinska for the New York City Ballet's production of "Western Symphony". Skirt designed by Barbara Karinska for the New York City Ballet's production of "Western Symphony". From the Ailina Dance Archives.JPG
Skirt designed by Barbara Karinska for the New York City Ballet's production of "Western Symphony".

A ballerina skirt, also referred to as a Juliet skirt or a romance skirt, is a full skirt that is worn by ballet dancers and is composed of multiple layers of fabric. Ballet dancers wear the longer version of the skirt, while for fashion purposes the skirt is worn shorter, like a mini skirt for better dancing, the cocktail version. The standard ballerina attire is composed of fabric with a wire, in order for tulle to be visualized as stiff when it is around their waists. The Juliet styled skirt is free-flowing and covers the majority of their legs to place a high emphasis on the performer's legs. [1]

Contents

The ballerina skirt is typically made up of five to twelve layers of tulle fabric. A ballerina skirt is portrayed as feminine and elegant, as well as being associated with the traditional attire for classical ballet performances.

There are several different types of the ballerina skirts are used when performing. Those include: romantic, classic, pancake, balanchine and platter skirts.

Scene from Les Sylphides Chopiniana Baku.jpg
Scene from Les Sylphides

History

From early 1550s, Roman dress had a strong influence on costume design: silk skirts were voluminous, and key details were often exaggerated, which was usually based on everyday wear. During the seventeenth century, silks, satins, and other fabrics were embroidered with real gold and precious stones. While this increased the level of decoration with ballet costumes, the heavy garments and supporting structures did not allow the dancers to perform graceful gestures and ultimately weighed them down. [2]

During the early 1700s the panier, a hooped petticoat, was just invented that help raised the skirts a few inches off the ground. When the Romantic movement came about, ballet costumes were emphasized more to be tight-fitting. [2] The romantic tutu came about in Paris in 1832 when Marie Taglioni premiered in the skirt in the ballet performance La Sylphide. [3] The skirt is a bell-shaped calf-length style; it falls halfway between the knees and ankles and it was composed of layers of stiffened tarlatan or starched, sheer cotton muslin that gave the illusion of fullness without being heavy. By 1870 other ballerinas began wearing tutus cut above the knee allowing to show complex footwork and to give visual of the ruffled underpants attached to the skirt. [4]

Ballet skirts began to get shorter during the 20th century. Some ballet skirts had tarlatan layers which help create a flared-from-the-body effect. In the 1940s wire, hoops were inserted to enable the skirt to stand out from the hips. Tulle soon replaced tarlatan making the hoop an option rather than being a necessity. [4] The most common style today is the short skirt which appeared in the late nineteenth century and it is made of different fabrics and materials which range from fluffy to thin fabrics. [3]

This skirt gained popularity in the fashion world in the 1950s. Women began to dress extremely feminine and focused on the decor and accessories that they could add to their attire, as well as the appearance of a narrow waistline. Throughout this time period, women were seen wearing these tight bodices and flowy skirts to emphasize the narrow waist look [1]

Serena Williams wearing a ballet skirt at a tennis match. Serena Williams (7490354700).jpg
Serena Williams wearing a ballet skirt at a tennis match.

Celebrities and actresses played a huge role in the popularity of the ballerina skirt. Marilyn Monroe was seen wearing ballerina skirts in her “Ballerina” series of photographs, this is what brought the skirts from performance attire to everyday wear during the 1950s. [5] In the show Sex in the City actress Sarah Jessica Parker is seen in the opening credits wearing a tutu and ends up showing the symbolism of the character, yet it also inspired the world to try out the look. [6] Fashion designers, such as Lacroix and Valentino have more recently been looking toward ballet for inspiration. As well as Serena Williams being a world representative during her tennis matches for the ballet skirt. [7]

Production process

Ballerina skirts have been seen as a direct symbol of ballet performers, but they are widely known as an art form. One of the most known costume designers, Barbara Karinska was known for her tutu-producing skills, she even named herself the "tutu-mechanic". [8] The production begins with the steps of creating a panty on the inside layer and then building from that. The next part that is developed is the basque portion, known as the waist portion. This is composed of heavy fabrics that are cut and designed to fit dancers, who are being tailored to fit exactly into that specific skirt. The panels are then stitched together; this section determines the fullness of the skirt and helps with the durably of the skirt. All skirts can be cut differently depending on the style of the performance and the look that is being desired. The last step is to attach the bodice to the skirt. [8]

Types of ballerina skirt

Ballerinas can often be seen in several types of ballerina skirts. The Romantic tutu was first made famous through Marie Taglioni, since she was wearing such a flowing skirt, her pointe shoes were easily recognized. The Romantic tutu is a large bell-shaped skirt composed of soft material. It covers the majority of the dancer's legs, down to the ankle. The Classical tutu has several variations, but the main reason it was created was so that the dancers could be freer and it would not be so constrictive of their dancing. [9] Bell-styled tutus are known for their bell-like shape; they are made to be short and stiff with several layers of netting to help with framing the flow-like appearance of the skirt. [10]

See also

Related Research Articles

<span class="mw-page-title-main">Victorian fashion</span> Fashions and trends in British culture during the Victorian era

Victorian fashion consists of the various fashions and trends in British culture that emerged and developed in the United Kingdom and the British Empire throughout the Victorian era, roughly from the 1830s through the 1890s. The period saw many changes in fashion, including changes in styles, fashion technology and the methods of distribution. Various movement in architecture, literature, and the decorative and visual arts as well as a changing perception of gender roles also influenced fashion.

<span class="mw-page-title-main">Skirt</span> Clothing worn from the waist or hips

A skirt is the lower part of a dress or a separate outer garment that covers a person from the waist downwards.

<span class="mw-page-title-main">Romantic ballet</span> Type of dance

The Romantic ballet is defined primarily by an era in ballet in which the ideas of Romanticism in art and literature influenced the creation of ballets. The era occurred during the early to mid 19th century primarily at the Théâtre de l'Académie Royale de Musique of the Paris Opera Ballet and Her Majesty's Theatre in London. It is typically considered to have begun with the 1827 début in Paris of the ballerina Marie Taglioni in the ballet La Sylphide, and to have reached its zenith with the premiere of the divertissement Pas de Quatre staged by the Ballet Master Jules Perrot in London in 1845. The Romantic ballet had no immediate end, but rather a slow decline. Arthur Saint-Léon's 1870 ballet Coppélia is considered to be the last work of the Romantic Ballet. Romantic ballet is believed to have been experienced in three main phases: The zenith phase from 1830-1840, the decline phase from 1850-1880, and the revival phase in the 1890s prior to Diaghilev. Each phase is synonymous with the production of a few specifically stylized ballets.

<span class="mw-page-title-main">Tutu (clothing)</span> Dress used in ballet

A tutu is a dress worn as a costume in a classical ballet performance, often with attached bodice. It may be made of tarlatan, muslin, silk, tulle, gauze, or nylon. Modern tutus have two basic types: the Romantic tutu is soft and bell-shaped, reaching the calf or ankle; the Classical tutu is short and stiff, projecting horizontally from the waist and hip.

<span class="mw-page-title-main">1860s in Western fashion</span> Costume and fashion of the 1860s

1860s fashion in European and European-influenced countries is characterized by extremely full-skirted women's fashions relying on crinolines and hoops and the emergence of "alternative fashions" under the influence of the Artistic Dress movement.

<span class="mw-page-title-main">Bodice</span> Clothing for women and girls

A bodice is an article of clothing traditionally for women and girls, covering the torso from the neck to the waist. The term typically refers to a specific type of upper garment common in Europe during the 16th to the 18th century, or to the upper portion of a modern dress to distinguish it from the skirt and sleeves. The name bodice is etymologically an odd plural spelling of "body" and comes from an older garment called a pair of bodies.

<span class="mw-page-title-main">Ball gown</span> Type of evening gown

A ball gown, ballgown or gown is a type of evening gown worn to a ball or a formal event. Most versions are cut off the shoulder with a low décolletage, exposed arms, and long bouffant styled skirts. Such gowns are typically worn with opera-length white gloves, vintage jewelry or couture, and a stole, cape, or cloak in lieu of a coat. Where "state decorations" are to be worn, they are on a bow pinned to the chest, and married women wear a tiara if they have one. Although synthetic fabrics are now sometimes used, the most common fabrics are satin, silk, taffeta and velvet with trimmings of lace, pearls, sequins, embroidery, ruffles, ribbons, rosettes and ruching.

<span class="mw-page-title-main">Evening gown</span> Womans dress usually worn to a semi-formal or formal affair

An evening gown, evening dress or gown is a long dress usually worn at formal occasions. The drop ranges from ballerina, tea, to full-length. Such gowns are typically worn with evening gloves. Evening gowns are usually made of luxurious fabrics such as chiffon, velvet, satin, or organza. Silk is a popular fibre for many evening gowns. Although the terms are used interchangeably, ball gowns and evening gowns differ in that a ball gown will always have a full skirt and a fitted bodice, while an evening gown can be any silhouette—sheath, mermaid, fit and flare, A-line, or trumpet-shaped—and may have straps, halters or even sleeves.

<span class="mw-page-title-main">1840s in Western fashion</span> Costume and fashion of the 1840s

1840s fashion in European and European-influenced clothing is characterized by a narrow, natural shoulder line following the exaggerated puffed sleeves of the later 1820s and 1830s. The narrower shoulder was accompanied by a lower waistline for both men and women.

<span class="mw-page-title-main">1850s in Western fashion</span> Costume and fashion of the 1850s

1850s fashion in Western and Western-influenced clothing is characterized by an increase in the width of women's skirts supported by crinolines or hoops, the mass production of sewing machines, and the beginnings of dress reform. Masculine styles began to originate more in London, while female fashions originated almost exclusively in Paris.

<span class="mw-page-title-main">Emma Livry</span> French ballet dancer (1842-1863)

Emma Livry was a French ballerina who was one of the last ballerinas of the Romantic ballet era and a protégée of Marie Taglioni. She died from complications after burn injuries sustained when her costume caught fire during a rehearsal.

<span class="mw-page-title-main">1550–1600 in European fashion</span> Costume in the second half of the 16th century

Fashion in the period 1550–1600 in European clothing was characterized by increased opulence. Contrasting fabrics, slashes, embroidery, applied trims, and other forms of surface ornamentation remained prominent. The wide silhouette, conical for women with breadth at the hips and broadly square for men with width at the shoulders had reached its peak in the 1530s, and by mid-century a tall, narrow line with a V-lined waist was back in fashion. Sleeves and women's skirts then began to widen again, with emphasis at the shoulder that would continue into the next century. The characteristic garment of the period was the ruff, which began as a modest ruffle attached to the neckband of a shirt or smock and grew into a separate garment of fine linen, trimmed with lace, cutwork or embroidery, and shaped into crisp, precise folds with starch and heated irons.

<span class="mw-page-title-main">1750–1775 in Western fashion</span>

Fashion in the years 1750–1775 in European countries and the colonial Americas was characterised by greater abundance, elaboration and intricacy in clothing designs, loved by the Rococo artistic trends of the period. The French and English styles of fashion were very different from one another. French style was defined by elaborate court dress, colourful and rich in decoration, worn by such iconic fashion figures as Marie Antoinette.

<span class="mw-page-title-main">1600–1650 in Western fashion</span> Costume in the first half of the 17th century

Fashion in the period 1600–1650 in Western clothing is characterized by the disappearance of the ruff in favour of broad lace or linen collars. Waistlines rose through the period for both men and women. Other notable fashions included full, slashed sleeves and tall or broad hats with brims. For men, hose disappeared in favour of breeches.

<span class="mw-page-title-main">1795–1820 in Western fashion</span> Costume and fashion 1795-1820

Fashion in the period 1795–1820 in European and European-influenced countries saw the final triumph of undress or informal styles over the brocades, lace, periwigs and powder of the earlier 18th century. In the aftermath of the French Revolution, no one wanted to appear to be a member of the French aristocracy, and people began using clothing more as a form of individual expression of the true self than as a pure indication of social status. As a result, the shifts that occurred in fashion at the turn of the 19th century granted the opportunity to present new public identities that also provided insights into their private selves. Katherine Aaslestad indicates how "fashion, embodying new social values, emerged as a key site of confrontation between tradition and change."

<span class="mw-page-title-main">1700–1750 in Western fashion</span> Clothing in Europe and areas under its influence from 1700-1750

Fashion in the period 1700–1750 in European and European-influenced countries is characterized by a widening silhouette for both men and women following the tall, narrow look of the 1680s and 90s. This era is defined as late Baroque/Rococo style. The new fashion trends introduced during this era had a greater impact on society, affecting not only royalty and aristocrats, but also middle and even lower classes. Clothing during this time can be characterized by soft pastels, light, airy, and asymmetrical designs, and playful styles. Wigs remained essential for men and women of substance, and were often white; natural hair was powdered to achieve the fashionable look. The costume of the eighteenth century, if lacking in the refinement and grace of earlier times, was distinctly quaint and picturesque.

<span class="mw-page-title-main">1920s in Western fashion</span> Clothing in the 1920s

Western fashion in the 1920s underwent a modernization. Women's fashion continued to evolve from the restrictions of gender roles and traditional styles of the Victorian era. Women wore looser clothing which revealed more of the arms and legs, that had begun at least a decade prior with the rising of hemlines to the ankle and the movement from the S-bend corset to the columnar silhouette of the 1910s. Men also began to wear less formal daily attire and athletic clothing or 'Sportswear' became a part of mainstream fashion for the first time.

<span class="mw-page-title-main">Ballet blanc</span>

A ballet blanc is a scene in which the ballerina and the female corps de ballet all wear white dresses or tutus. Typical in the Romantic style of ballet from the nineteenth century, ballets blancs are usually populated by ghosts, dryads, naiads, enchanted maidens, fairies, and other supernatural creatures and spirits.

<span class="mw-page-title-main">1775–1795 in Western fashion</span> Western fashion throughout the late 1700s

Fashion in the twenty years between 1775 and 1795 in Western culture became simpler and less elaborate. These changes were a result of emerging modern ideals of selfhood, the declining fashionability of highly elaborate Rococo styles, and the widespread embrace of the rationalistic or "classical" ideals of Enlightenment philosophes.

Throughout its history, the costume of ballet has influenced and been influenced by fashion. Ballet-specific clothing used in productions and during practice, such as ballet flats, ballerina skirt, legwarmers, and leotards have been elements of fashion trends. Ballet costume itself has adapted aesthetically over the years, incorporating contemporary fashion trends while also updating fabrics and materials to allow for greater freedom of movement for the dancers. The classic ballerina costume with a tutu and pointe shoes debuted in the 1830s. Ballet costume is marked by the innovation in lightweight materials such as tulle, chiffon, and organza.

References

  1. 1 2 "What is a Ballerina Skirt?". www.wise-geek.com. Retrieved 2022-03-02.
  2. 1 2 Hecht, Thomas. "Ballet Costume". Encyclopedia of Clothing and Fashion. 1: 114–116 via Gale ebooks.
  3. 1 2 Wulff, Helena. "Costume for Dance". Berg Encyclopedia of World Dress and Fashion: West Europe: 498–502.
  4. 1 2 Looseleaf, Victoria (October 2007). "The Story of the Tutu". Dance Magazine.
  5. Ballet, The Australian. "Tutus in Hollywood | The Australian Ballet". australianballet.com.au. Retrieved 2022-03-02.
  6. "THE STORY OF: The Tutu In The Opening Credits Of Sex And The City". 29Secrets. 2020-08-17. Retrieved 2022-03-02.
  7. "The complete history of the tutu". The National. 2018-09-10. Retrieved 2022-03-08.
  8. 1 2 "Inside Look: The Making of a Tutu". Boston Ballet. Archived from the original on Jul 6, 2022. Retrieved March 8, 2022.
  9. "Why Do Ballerinas Wear Tutus?". www.childrensmuseum.org. Retrieved 2022-03-08.
  10. "Ballet 101: Types of Tutus". Ballet Arizona Blog. 2022-03-03. Retrieved 2022-03-08.