Catching the most poetic moments in which the language of fashion and dance came together, as a source of mutual inspiration.

 

 

Merce Cunningham: Scenario, costumes Rei Kawakubo, illustrations by
Jiang Yinxi

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“A dancer’s life must be the most exalting thing in the world and the most excruciating. But, to have performed on arc of arm, one moment of beauty, one something…”  in the words of Diana Vreeland  ,  December 1967,  Vogue America, in occasion of  the  editorial “Nureyev a photographic study of the human form in action  , by Richard Avedon .The woman who had enormous influnce over fashion from 1936,  has undoubtedly guessed before others, that the dance would have been the muse of many collections. She studied dance since childhood with Fokine, dancer and choreographer who has been part of the Russes Ballets . She particularly remembered coreographer Sergei Diaghilev, whom she said changed ballet as well as Vaslav Diaghilev,  according Diana Vreeland intuition    “Diaghilev and his Ballets Russes had an enormous impact on fashion, the first great twentieth-century couturier, Paul Poiret, got many of his idea from Diaghilev, thanks to the naturalness of the body, that’s the most important thing he did, hard corsets disappeared overnight, and everyone was in a practically transparent chemise”.

From Léon Bakst costumes for the Ballets Russes, brought to Paris by Sergei Diaghilev, to  the  Coco Chanel’s costumes for “Le train Bleu”  comissioned by  her friend, the russian ballet coreographer Diaghilev, the  contaminations between fashion and dance started really early.

The Orientalism of the Ballets Russes has influenced a lot of generations of fashion designers. After Poiret, Yves Saint Laurent, fascinated from the east  art and culture, created a collection inspired of Ballet Russes, in 1976.  Arriving to Pina Baush, the late German modern dancer and choreographer  celebrated  in 2011, as one of Yohji Ymamoto’s women in occasion of Victoria & Albert’s retrospective.

Yohji Yamamoto’s collaboration with Pina Bausch being the perhaps most well-known, but the relationship between dance and fashion has become, gradually, more and more narrow.

Hussein Chalayan in his collection ” Before Minus Now S/S 2000” inspired tutus of the dancers.

The collection featured a series of airplane technology-inspired remote-controlled kinetic dresses. In particular, one dress was operated by a remote control that could lift the rigid flaps of the dress, revealing a froth of pink tulle underneath.

McQueen for the collection S/S 2004 “Deliverance” has created a real show dancing on stage at the Salle Wagram. The performance was a funny evocation of the film of Sydney Pollack’s “They Shoot Horses, Do not They?”, Choreographed by Michael Clark. The girls, dressed in silver lamé, sequined bodices and huge skirts of feathers, circling on the dance floor.

Nicholas Ghesquière for Balenciaga collection S/S 2013 was inspired by the drama of flamenco, evident in the two-tone flounced skirts.

Rick Owens for S/S 2014 collection was inspired by the dynamism of African-American steppers. He created an innovative collection, that exalts a new idea of beauty, more rude, angry and provocative. He places emphasis on the problem of aesthetic diversity and racial minorities. In place of the usual models, the designer chose four teams of dancers step African-American, who gave life to the stage in a real live performance.

Viktor & Rolf for the haute couture collection S/S 2014, created a performance: dance as a tribute to the movement and the beauty of the female body.

On the catwalk no models,  but there are professional dancers of the company Het Nationale Ballet.

The protagonist is the relationship between skin and clothes. The designer duo used  a specially treated latex to create the pieces: draped, fluid ballet dresses and leotard hybrids; little wrap dresses or bodies with skater skirts. Trompe-l’oeil drawings of flakes, ruffles, ribbons and birds become tattoos on the body. They wanted latex that was as light and ethereal as chiffon.

Fashion designers are also increasingly collaborating with choreographers to create stylish new dance costumes.

For the New York City Ballet ‘s 2012 Fall Gala was asked several designers to create dresses for the shows. Valentino for the Bal de Couture has created elegant ball gowns waltzes.

Laura and Kate Mulleavy of Rodarte created tutus for The Black Swan by Darren Aronofsky.

From close collaboration between designer and choreographer were born the dresses by Comme des Garçons for Mercè Cunningham. Kawakubo costumes  bring inside with the idea of physical distortions, such as humps and big rear ends. For much of the dance, five or six dancers twist and pose, each in his or her own space, with a rush of additional dancers to the stage toward the end of the performance.

Brigitte Lefèvre, director of dance department of the Opéra national de Paris, asked Riccardo Tisci to design the costumes for Ravel’s Bolero, on stage at the Opera Garnier in Paris.

Tisci thought that to create clothes for a ballet was the dream of every designer. The idea of the designer was that the dancers had the feeling of being naked: they wore suits tight flesh-colored tulle with embroidery in white lace which designed the structure of the human skeleton. While dancing, the dancers are transformed into dancing skeletons, strong and fragile at the same time.

This mutual influence between fashion and dance will continue to exist and to give us performance of pure art.

Vertiginemagazine presents an illustrations serie, catching the most poetic moments in which the language of fashion and dance came together,

as a source of mutual inspiration.

text by Stefania Seoni and Viviana Dell’Orto

 

 

Nureyev “a photographic study of the human form in action”  , by Richard Avedon , Vogue America, 1967, illustration by  Guo Xuan

 

 

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Hussein Chalayan ” Before Minus Now S/S 2000” inspired tutus of the dancers, illustration by Simone Antonini

 

 

Tribute to Maya Plisetskaya , Cecil Beaton, for Vogue America 1964, illustration by Jang Yinxi

 

 

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Martha Graham , illustration by  Guo Xuan

 

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Trisha Brown dance performance illustration by Guo XuanJiang Yinxiillustration by Jiang Yinxi,inspired by her own photo

 

 

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William Forsythe, costumes Gianni Versace, illustration by Guo Xuan

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McQueen for the collection S/S 2004 “Deliverance” The performance was a funny evocation of the film of Sydney Pollack’s “They Shoot Horses, Do not They?”, illustration by Simone Antonini

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Dancer Molissa Fenley wearing Comme des Garcons spring/summer 1983, by Robert Mapplethorpe, 1983, illustration by Jiang Yinxi

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Viktor & Rolf for the haute couture collection S/S 2014, ody, illustration by Simone Antonini.

On the catwalk no models,  but there are professional dancers of the company Het Nationale Ballet.

 

Reinventing Yoga as a Dance

 

 

Vertigine, presents the collage serie by Federica De Stefano ,

Federica  has reintrepreted the Yoga positions , taking inspiration from one of the first editorial appeared in Vogue America  in 1969, (under the direction of Diana Vreeland), Vogue captured the attention of thousand of people outside the usual fashion audience, with one of the first editoriali focused on Yoga.

Federica artworks feature  a  dramatic couture , with a deep poetic  narrative.

all artworks by Federica  De Stefano for Vertiginemagazine

 

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A tribute to Pina

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Pina  Bausch is a beautiful woman. She is also obsessive, exhausting, elusive, occasionally infuriating and magnetic. This German queen of dance theatre fixes her subjects with deep-socketed blue eyes and, well, they melt. Dancers fall in love. So do audiences, who greet her work with ritualistic slow clapping. On their feet. Twenty-minute curtain calls. Pina grips her dancers’ hands. She gazes into the auditorium, her pale face a mixture of gratitude and exhaustion.

Valerie Lawson

 

all artworks by Rosa Giurlanda