As I am entering into my final project as a student I thought it would be a good idea to record my thoughts on my project and share my work with you. Our final costume is meant to be a representation of who we are as makers and as creators.  I have had a life-long love affair with ballet and with the 18^th century so I saw no better way to express myself than to combine the two. My hopes are to re-create a historical ballet costume that could be found in a modern production. I have chosen an 18th century design by Jean-Baptiste Martin entitled Paysanne Galante (1722) used in the Ballet de la Provencale and other dances. The second portrait is one of my favourites because in my mind she represent Payanne as a real costume. It’s one thing to have a drawing of an idea but it’s another to find a living woman wearing something similar. 

More information on this project can be found on The Mended Soul 

My mother pointed out last night that this design I am bringing to life is the epitome of an Ornamented Being. I can’t explain the reason but that thought warms my heart.

Mlle. Lina(?) Richard, dans Marco Spada / Alophe del. et lith. ; imp. Auguste Bry. Alophe, 1812-1883, artis

I was classically trained in Russian Ballet when I was growing up and it was at the barre that I learnt a very painful lesson, ‘dreams don’t make allowances for injuries’. One day I will be able to look at ballerinas without feeling a twinge of sorrow in my heart.

Anna Pavlova’s costume designed by Leon Bakst for Swan Lake (1905)

Giovanna Baccelli by Thomas Gainsborough

I don’t think you will be hearing from me much for the next few weeks! We are making ballet tutus, which I’m rather excited about! I spent all day cutting my fabric layers out to prep for next week and I still have to finish cutting the soft tulle.

Wish me luck and patience! 

Do I love you because you’re beautiful,
Or are you beautiful because I love you?
~Richard Rodgers and Oscar Hammerstein II, Cinderella