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.