This costume is a superb example of the designing skills of Wilhelm, who sits at the end of the 19th-century realistic tradition and at the beginning of the more imaginative, 'impressionistic' designing of Leon Bakst. This Edwardian design combines the froufrou so beloved of that period with the glitter of the music hall. The costume, which could have been a riot of vulgarity, is extremely refined in its execution; Wilhelm knew exactly the results he wanted to achieve (the associated design is so skilfully executed that it is possible to tell the materials he envisaged) and the blending of sequins, bright silks and silver tissue is masterly, as is the way the whole is muted by the use of black net relieved by silver braid and sequins. The silver tissue pantalettes peeping from under the black net frill and the tarlatan underskirts, are sweetly tantalising. There is a wit and a sparkle in the costume which must have reflected the personality and performance of Adeline Genée, who did so much to set standards and establish the popularity of ballet in the London music halls of the late 19th and early 20th centuries.
Physical description
[Theatre costume] Fantastic ballet costume. Bodice of asymmetric design, the right side of solid black-sequinned fabric, the left of silver tissue. Twining around the bodice and over the shoulders, intersecting the two sides and creating a very low V-neck back and front, is an appliqué serpent formed of strips of sequins in spectrum colours, with diamanté eyes. The lower part of the front neck is filled with flesh coloured chiffon over a pink cotton base, latticed and outlined across the top edge with small brilliants. The bodice is boned and laced down the back, using eyelet holes. The open topped sleeves match their respective sides of the bodice, the left being of black net, the right of silver tinsel tissue; both are caught at the lower edge with a silver tissue bow and two silver bullion tassels. Following the line of the shoulder straps and down the V back are bold graduated frills of black net scattered with silver sequins, edged with silver tissue and wired along the outer edge. The low calf length gored skirt is made up of ten panels simulating feathers, in violet paper taffeta, deep blue silk, turquoise satin, pale green silk, green yellow ribbed silk, gold silk, pale orange silk, flame silk, cyclamen silk, and purple silk, all interspersed with strips of black silk. The illusion of feathers is created by lines of fine silver braid scattered with silver sequins on the inner 'frond'; and black braid scattered with black sequins on the outer 'frond'; each feather has a strip of matching sequins between the black and silver lines which form the spine, and clusters of matching elliptical sequins following the spine. The tips of the feathers curl outward from the centre front, creating a scalloped hem bordered with a gathered ruche of stiffened black net edged with narrow silver tinsel ribbon; between the scallops are small gathered sections of silver-edged black muslin. The underskirt of black tarlatan is edged with silver tinsel ribbon. Attached at the waist, under the skirt, is a pair of ankle length shirred silver pantaloons. Down the outer edge of each leg are set seven and a half ellipses of gathered black net strewn with silver sequins and outlined in silver tinsel ribbon; around each leg, at the top of each ellipse, are horizontal bands of narrow silver tinsel ribbon, ending at the ellipse in minature bullion tassels.
[Theatre costume] Fantastic headdress of matching ostrich feathers, set in a high sequinned and diamanté back, a diamanté edged fillet fitting around the head, set, at the front, with a sequinned 'antenna'.
Date
1916 (made)
Artist/maker
Wilhelm, born 1858 - died 1925 (costume designers)
Materials and Techniques
Silk, taffeta, satin, sequins, silver tissue, cotton, chiffon, net, tarlatan, diamanté, braid and ostrich feathers
Dimensions
[Theatre costume] Height: 250 cm, Width: 85 cm, Depth: 75 cm
[Theatre costume] Height: 35 cm, Width: 35 cm, Depth: 66 cm
Object history note
Costume for a Waltz in the Modern Manner worn by Adeline Genée in Adeline Genée and D.G. MacLennan's ballet The Pretty Prentice, London Coliseum, 1916. The music for the ballet was composed by Cuthbert Clark, and the libretto, scenery and costumes were by Wilhelm.
The costume was given to the Royal Academy of Dance by Adeline Genée, who was the first President of the organisation.
Descriptive line
Costume for a Waltz in the Modern Manner designed by Wilhelm for Adeline Genée in The Pretty Prentice, London Coliseum, 1916
Bibliographic References (Citation, Note/Abstract, NAL no)
Spotlight: Four Centuries of Ballet Costume, A Tribute to The Royal Ballet (London: Victoria and Albert Museum, 1981), pp.64-65
Exhibition History
Theatre and Performance (Victoria and Albert Museum, Galleries 103 -106 01/01/2009-31/12/2009)
Spotlight, Four Centuries of Ballet Costume: A Tribute to The Royal Ballet (Victoria and Albert Museum 08/04/1981-26/07/1981)
Adeline Genée (Theatre Museum 01/05/1978-31/05/1978)
Materials
Silk (textile); Cotton (textile); Satin; Muslin; Sequins; Ribbon; Chiffon; Net (textile); Braid; Diamanté; Taffeta; Ostrich feathers; Tarlatan
Techniques
Machine stitching
Categories
Entertainment & Leisure; Stage costumes; Hats & headwear
Collection code
T&P
