Costume for the female Can-can dancer in La Boutique fantasque designed by Andre Derain and given to Cyril Beaumont. It is likely that there were several versions of this costume as Lopokova danced the role not only with the Ballets Russes but as a divertissement inher own concert and variety programmes.

Le Boutique fantasque was a light-hearted a ballet in one act was choreographed by Léonide Massine to an arrangement of music by Giacomo Rossini arranged and orchestrated by Ottorino Respighi. The production was designed by André Derain with the sets painted by Vladimir and Elizabeth Polunin and the costumes made by Alias Ltd. It was created for Serge Diaghilev’s Ballets Russes and first performed at the Alhambra, Leicester Square, London, on 5 June 1919, where it was a terrific hit. As one critic wrote after the premiere, in La Boutique Fantasque ‘the old and the reactionary and the new music and “choreography” and décor all run together into a piece of merry nonsense, so single and so compelling that it carries The action of the ballet is set in a toy-shop c.1865. Clients visit to see the novelties and the can-can dancers are purchased by different families. At night, after the shop had closed, the toys come to life and enable the can-can dancers to elope. In the morning they are found to be missing by the disgruntled purchases.'

Cyril Beaumont described Lopokova's performance as 'delightful. She was attired in a blue satin bodice and short, white satin skirt, fringed with black lace and stuffed with innumerable frilly petticoats; her hair was dressed in the little curls fashionable during the Second Empire and bound with a garland of cornflowers and marguerites. Her resemblance to a doll was extraordinary. It was totally different from the angular, stiffly jointed puppet of the Dancer in Petrouchka. Her rounded limbs, pale face, full cheeks, curved pointing lips and innocent expression recalled one of those expensive china dolls at once the supreme joy of children and dread of care-worn fathers….She danced with incredible precision and verve. One leg flew upwards to writhe, twist, turn and revolve amid a sea of foaming lace and ribbon. She flaunted her petticoats in the most mischievous abandon and, without altering the expression of her features contrived to convey by the pose of her head and arms, the fleeting emotions of distain, surrender, coquetry and pique. I have never heard a theatre resound to greater applause.’