Return to BalletNotes Home PageAllegoria, the costumes
(Written February 1999)
The costumes for Allegoria were designed by Linda Pisano who has previously designed Beauty and the Beast for BalletMet. Once her final designs were drawn, following four months of discussions with Julia Adam, the BalletMet costume shop then set about turning those designs into costumes. Many questions regarding specific construction techniques, fabric selection and handling had to be addressed and successfully answered. Then the dancers put on the costumes, move in them, and add their own list of concerns regarding movement in the clothing. All this must take place and be resolved in a matter of some four weeks.
Linda Pisano on the costume designs
"The first ideas that Julia Adam discussed with me regarding her piece was that the ritualistic and tribal feel of the dance should seem enclosed by something constructed and confining. Ms. Adam felt strongly about communicating only the essences of the "constructed" enclosure, not necessarily something rigid and tight.
"We worked through a great deal of research including Victorian and late Georgian silhouettes. The latter was discussed in relation to the look of the ballet Manon. Ultimately the silhouette of the female dancers is a dramatically simplified late Georgian silhouette. The sleeves, bodice and waistline all elicit the qualities of the women of the time without the bulkiness of panniers, engageants and trims. Moreover, the skirt is quite slim through the hip line yet retains the fullness of a period hem. The male silhouettes appear more timeless. The trousers have a fullness with a lowered waistline to enhance the torso movement of the dancers.
"Ms. Adam and I discussed a number of fabrics but ultimately decided that a soft net made from natural fiber would be the most appropriate choice for flow, movement and durability as there is a great deal of floor work in this piece. The need for durability and the lightness of the fabric also require that every costume be French seamed throughout. A French seam is an inside-out, double seam most often used in the couture houses of Europe. It is time consuming but ultimately makes for a more durable and aesthetically pleasing costume. The undergarments reflect the rich color of the more tribalesque sense of the dance while the over garments are dyed to match the flesh tone of each dancer and therefore enhance only the silhouette of the garment.
"The most unique aspect of this process is that Ms. Adam and I have never met. Our discussions were held via phone conversations, voice mail and fax machines. Ultimately a person to person dialogue is preferred in an artistic relationship; however, it is not always available. This type of long-distance choreographer/designer relationship is becoming more common in our field, and technology offers both an efficient and speedy way to keep the process moving. Because of the speed with which we can send items by mail, the costume studio may be able to send garments to Ms. Adam to try on herself as if she were at an actual fitting. This will be vital in preparing for a smooth dress rehearsal."
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