In our third post for The Design Files, we look at design and costume books that inspire at the Ballet

Self-confessed bowerbird Vicki Car is The Australian Ballet’s head of millinery. As well as an enviable collection of trims and treasures, Vicki’s sun-flooded workspace also boats an impressive design library. Here, in no particular order, are some of her favourites … Read more on The Design Files

I have discovered that swans use a lot of glitter. And a very particular sort of glitter at that: very, very fine bright white glitter that sticks to everything and can be found in all sorts of interesting places at the end of the day.

We refurbished Swan Lake recently for the Perth season and although the show is in quite good condition, there’s no getting away from the fact that it has been on tour every year since it was made in 2002. The headdresses are very stylised, with two pieces of thermoplastic shaped to represent a wing and a tail. The girls pin them into their hair either side of their French rolls and originally they were painted with white opalescent paint and finished off with glitter at the base of each piece. It was only when we resprayed one did we realise how brown they were! I guess it’s down to the stage lighting that we had no idea; during the performances they looked beautiful. Close up however the poor swans were looking a little worse for wear, not quite as sparkly as they had been and rather like they had been swimming in a murky pond.

Kate my fearless and trusty assistant had no idea what l was letting her in for when we talked about bringing them up to scratch. For days we were lost in a haze of glitter, spray paint and PVA glue like drag queens at the Mardi Gras. But finally they were done, resprayed, reglittered and packed into their boxes for their journey to Perth.

Ready, as Betty Pounder used to say on opening nights, to “Sparkle, Darlings”.

Graeme Murphy’s Swan Lake is available to purchase on DVD from The Australian Ballet Shop

For Scuola di Ballo we are working with our trusted friend Hugh Colman, whose designs are always a joy to make. This time around we are blocking felt tricorns for policemen and making an exaggerated frilled bonnet for Lucrezia,  as well as earrings for the girls and a few shoe buckles for the boys. Although not historically accurate, the designs have taken their inspiration from the 18th century, which is a maker’s delight with its wonderfully rich fabrics and fantastic shapes. As far as the making goes, we are using traditional materials and techniques that milliners have used for decades. So often we are pushing boundaries with the materials we use, and how we use them, that it’s always lovely to hand-block a tricorn brim or make a silk bow. Hugh has chosen wonderful warm colours and l have no doubt the piece will be beautiful on stage.

Dyad 1929, designed by Moritz Junge, is another thing entirely. It’s a very modern piece, with designs based in geometric shapes and strong angles. A single pair of wings has sent me running into the arms of prop maker Al Martinez.  At his fantastic studio l have played with angle grinders, drills and linishers, and heated, hammered and shaped steel in the forge, all the while being lucky enough to have Al share his vast knowledge with me, quietly and gently become a mentor. The wings will look like amazing (I hope!), and what l have learned in the process will be invaluable to me in the future.

One of the things l love most about my job is being surrounded by such cleverness and skill. When that cleverness and skill is so willingly shared it makes me wonder how l could ever do anything else.

Photography by Teagan Glenane

The Australian Ballet’s Head of Millinery, Vicki Car, investigates the curious case of the Nutcracker costumes

After weeks of sorting, cleaning, re-making, repairing, stretching up, padding down and what feels like endless, endless re-labelling, Graeme Murphy’s Nutcracker has gone. Packed into touring crates and headed for Sydney.

It’s been quite an undertaking. A lot of what made Kristian Fredrikson’s designs so beautifully rich and detailed were the little bits and pieces that he had collected over the years on his travels. He would bring in a piece of antique jet or lace and it would find its way onto a coat or a hat.

The show was designed in 1992 and hasn’t been performed by the company for almost 10 years. Somehow in the time since, whole costumes have gone missing. Trims and belts have been snipped off and handbags, hats and even dresses have disappeared. The difficulty was not only re-making the missing costumes but finding replacements for trims and fabrics that don’t exist anymore. Thankfully many in wardrobe knew Kristian well and know what he would have liked. There has been much rummaging in boxes as well as the shopping done by Jenny (our Purchasing Coordinator) and throughout there has been a sense in the workroom that he is nearby, watching and helping us along.

Everyone has a theory on what happened to the missing costumes. l imagine them to be like stolen Old Masters, on display in a darkened room for a balletomane whose love of dance has gone beyond sitting in the auditorium. I’m sure the reality is far more mundane but wherever they are now, l hope Kristian is pleased with what we have done.

Now that Nutcracker has gone there is a bit of tidying to do and perhaps a cup of tea, and then l really should start thinking about The Sleeping Beauty…

Graeme Murphy’s Nutcracker – The Story of Clara is on in Sydney from 28 April – 18 May and Melbourne from 5-18 June

Original costume designs by Kristian Fredrikson from the Production department’s ‘Nutcracker bible’. Photography by Jasmin Tulk