Lila de Nobili (1916-2002) was a designer of great delicacy and ingenuity. In 1968, she designed Peter Wright's production of The Sleeping Beauty for the Royal Ballet, and the surviving artefacts are little masterpieces of both imagination and craftsmanship. There were, in fact, so many visual delights that it took several viewings to realise them all.
In the ballet Princess Aurora and the Royal Court are put to sleep for a hundred years by the wicked fairy Carabosse. Director Peter Wright and his designer Lila de Nobili took a refreshingly practical attitude to the fairy story and decided that there should be no magical preservation of the costumes, so the whole Court woke wearing outfits that had decayed during their sleep, although fortunately their bodies had not aged one iota.
One much appreciated visual touch was the bird's nest built on the head of the King's minister, Catalabutte, made all the funnier because, despite the appendage, his behaviour was as fussy and officious as ever. In Act I, before the Court falls into its enchanted sleep, Catalabutte wears a domed cap trimmed with ermine. This is attached to a close fitting underhat with long chin straps. For the Awakening in Act II he wears a similar underhat and on this is placed the bird's nest headdress. Unusually, it is made of real twigs. The nest has a fur trim at its base to give the impression that it has been built on top of Catalabutte's domed cap.
Physical description
[Theatre costume] Full-length tabard in ivory panne velvet decorated with shields of imitation leather painted variously in pale pink, turquoise and white with heraldic symbols in gold. Areas of the velvet 'distressed' with brown paint to suggest age. The tabard lined with off-white cotton and fastening at back with hooks and eyes.
[Theatre costume] Short undergarment, designed to be worn beneath the tabard with only the long sleeves visible. The body of off-white cotton with an attached brown nylon quilted pad to front at neck and shoulders. The sleeves of flannelette painted in checks of white and mushroom, in alternate vertical lines each mushroom-coloured check is covered with a band of deep brown felt. The undergarment fastens at back with hooks and eyes.
[Theatre costume] Footless tights of brushed nylon fabric painted with checks of white and mushroom, with elastic loops at each leg to slip over the feet.
[Theatre costume] Domed cap of cream raised wool, at crown a ball of wood covered in the same fabric. Edged with white imitation fur painted with black 'ermine tails'. Attached to interior an underhat with chinstraps, all in white raised wool.
[Theatre costume] Underhat with long chinstraps, all in white raised wool. To be worn under hat S.1533E-1982
[Theatre costume] Fantastic 'nest' headdress of woven twigs and raffia, the nest containing small feathers. The edge trimmed with fur. Designed to fit over S.1533D-1982.
[Theatre costume] Long decoative plaited cord in pink-brown, the ends tied and fringed.
Date
1968 (made)
Artist/maker
de Nobili, Lila, born 1916 - died 2002 (costume designer)
Bonn & Mackenzie (theatrical costumiers)
Materials and Techniques
[Theatre costume] Velvet, imitation leather, cotton and paint
[Theatre costume] Painted flannelette, cotton, quilted nylon and felt
Marks and inscriptions
[Theatre costume] D. 3 / S. Holden / Catalabutte / Sleeping Beauty
[Theatre costume] D.3 / Holden / Catalabutte / Sleeping Beauty
[Theatre costume] Sleeping Beauty / Plaistow
[Theatre costume] Sleeping Beauty / Catalabutte / S. Holden
Dimensions
[Theatre costume] Height: 137 cm
[Theatre costume] Height: 44 cm front of garment, Height: 35 cm back of garment
[Theatre costume] Height: 108 cm
[Theatre costume] Height: 14 cm, Diameter: 25 cm
[Theatre costume] Height: 15 cm, Diameter: 17 cm
[Theatre costume] Height: 22 cm, Width: 42 cm, Depth: 39 cm
[Theatre costume] Length: 300 cm
Object history note
Costume for Catalabutte worn by Stanley Holden in Marius Petipa's ballet The Sleeping Beauty, Royal Ballet, Royal Opera House, Covent Garden, 17 December 1968. It was intended that this new production, staged by Peter Wright, should have a different 'look' to the Royal Ballet's famous former Sleeping Beauty designed by Oliver Messel. New and additional choreography was provided by Frederick Ashton. The 'Medieval' settings were designed by Henry Bardon, the costumes by Lila de Nobili and Rostislav Doboujinsky. The production was not considered a success, and was replaced by Kenneth MacMillan's new version in 1973.
Descriptive line
Costume for Catalabutte in the ballet The Sleeping Beauty, designed by Lila de Nobili, Royal Ballet, Royal Opera House, Covent Garden, 1968
Exhibition History
Theatre and Performance (Victoria and Albert Museum, Galleries 103 -106 01/01/2009-31/12/2009)
Materials
Paint; Wood; Cotton (textile); Wool (textile); Nylon; Velvet; Felt; Wire; Elastic; Feathers; Fur; Cord; Brushed nylon; Imitation leather; Imitation fur; Raffia; Padding (material); Flannelette
Techniques
Painting; Weaving; Sewing; Quilting; Braiding
Categories
Entertainment & Leisure; Stage costumes; Hats & headwear
Collection code
T&P
