By Isabel Castrejón
Have you ever considered how fashion shaped the evolution of modern dance? At the dawn of the 20th century, Paris emerged as the hub for the foremost Western artists who, expanding beyond conventional mediums like painting and sculpture, explored creative expression in every conceivable form. Fashion became a pivotal avenue, offering a dynamic canvas to animate their imaginative sculptures and creatures. Among these visionaries were Léonide Massine, the choreographer, Erik Satie, the composer, and Pablo Picasso, the artist, whose collaboration in 1917 culminated in the groundbreaking ballet "Parade."
Prior to the 20th century, classical dance had evolved through a romantic lens, epitomized by ballets such as "Swan Lake," "Don Quixote," and "Sleeping Beauty." Costume designs for these productions had remained largely unchanged for centuries. In the 17th century, women wore elaborate, courtly dresses with heavy trains, wigs, and jewelry. By the early 18th century, skirts had shortened to mid-calf length, and by the late 18th century, the invention of tights allowed greater freedom of movement. In 1820, blocked-toe shoes enabled dancers to perform en pointe, while the tutu became standard in the 19th century, undergoing little modification for a hundred years.
"Parade" marked a departure from classical ballet norms, challenging the conventions upheld by Diaghilev's Ballets Russes. This production epitomized experimental dance, seamlessly bridging classical and modern forms. Through his avant-garde costumes, Picasso integrated wardrobe as narrative, infusing characters with cubist depth and fluidity. His geometric designs segmented bodies, crafting unique perspectives that prompted choreographers and dancers alike to reimagine the possibilities of movement.
Picasso's approach integrated wardrobe as an integral narrative component, imbuing each character with personality traits through cubist sculptural concepts, allowing for fluidity or deliberate restriction of movement. The Spanish artist employed geometry to create characters layered with rich perspectives, manipulating and segmenting body parts to challenge choreographers and dancers, forewarning of the repercussions on ballet's evolution.
Consider the characters: The circus directors, embodying cubism's complexity, featured costumes fused with set elements, constraining movement and contrasting sharply with the agile circus performers. The Chinese conjurer, symbolizing strength and acrobatics, wore flowing attire facilitating expressive movement. The Little American Girl, interpreted by Picasso with figurative exaggeration, exuded innocence through a sailor costume adorned with exaggerated features. Acrobats donned simple bodysuits adorned with star prints and abstract shapes, ensuring total mobility while highlighting the dancers' forms. The horse, one of Picasso's most intriguing proposals, comprised two dancers mimicking equine movements through jumps and trots, sans arm movements, in accordance with classical technique.
Picasso's challenge lay in creating visually striking, unconventional designs that reimagined ballet as street theater, incorporating elements previously deemed coarse. His collaboration with Ballets Russes elevated his artistry, validating and promoting diverse artistic expressions beyond traditional boundaries. For Picasso, "Parade" affirmed that cubism transcended mere geometric abstraction, revolutionizing visual space and solidifying his stature as a 20th-century luminary through his exploration of fashion's profound impact on modern art.
There is so much to learn about Fashion in dance. Even in Mexico, fashion shapes how we perceive the art form. The traditional folkloric dances, flamenco, ballet and contemporary are constantly innovating in terms of costume design.
We have the pleasure of being able to enjoy the history of fashion in dance in this country through “Huellas danzantes” an exhibit at the Centro Cultural El Nigromante. It will be available to visit through September 15th. Be sure not to miss it!
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