Considered the first female dandy, the Marchesa Luisa Casati was muse to a list of painters, photographers, fashion designers, writers and European thinkers. She was photographed by Man Ray, dressed by Paul Poiret, and directly inspired Cartier’s ‘Panthere’ jewellery series. In the streets of Paris at midnight the Marchesa, with wildly teased hair and kohl-blackened eyes, could be seen taking her pet panthers for a stroll. The Marchesa Casati was – in her prime – the most scandalous and daring woman of her day. Bodytorque choreographer Timothy Brown is the latest artist to to draw inspiration from the Marchesa for his new ballet Nocturnal Phantasm. Bridie O’Leary, the costume designer for Timothy’s work, chatted to us about how she recreated the Marchesa for the ballet stage. The sketch above is from Bridie’s last millinery collection.
Tell us about the design brief that Tim gave you …
The brief was very extensive. It not only included his design brief, but a biography on fashion muse Marchesa Luisa Casati, a detailed description of the music, and notes on his style of choreography. The general idea was to explore the eccentric, macabre and dramatic traits of the Marchesa. The broader themes were based on the antiquity of the fashions and social high-life of the early 20th century art scene, including the artwork of Erté. The suggested colour palette included the use of monochrome greys and silvers – inspired by the silver screen – with particular attention to the textures and shine of the fabrics. Most of all, Tim wanted to create a sense of drama and tragedy.
And how have you interpreted his ideas?
Firstly, I got a hold of as much as I could on Marchesa Casati and Erté; in particular, paintings of the Marchesa and Erté’s illustrations. The idea was to represent the dramatic glamour and grotesque beauty of the Marchesa’s character that was represented in famous paintings and illustrations, and photos taken of her during her wealthy years, through to her downfall and ultimate poverty. I decided that it was imperative to emphasise the creation of the silver screen. The grey, black and silvery hues and textures would help to capture this. The dancers surrounding the Marchesa loosely reference the Belle Époque style of the period while exaggerating a kind of eeriness and keeping that neo-Gothic edge. I decided red was an excellent colour to use as a highlight not only for its striking appearance on stage but also as an ode to Marchesa’s flame-red hair. The trick was to balance the decorative and excessive qualities in the designs with a modern and minimal style … so as not to hinder the dancers, or overpower the choreography.
What did you learn about Marchesa Casati that you didn’t know before you started working on Bodytorque?
There was a story about Marchesa towards the end of her life that I came across in my research and really stuck with me. When Marchesa lost all her wealth due to her extravagant lifestyle she had to sell almost all her belongings, including all the art she had collected, to cover her enormous debt. According to this story, the Marchesa would be found roaming the streets of Paris in rags and tatters; a vision in moth eaten furs and feathers; her black-rimmed eyes darting around; her unwashed hair all dusty and grimy. She was so unrecognisable most wouldn’t have known her apart from the beggars. She would be seen in this state wandering for hours rummaging through waste, gleaning leftovers at the market. One would have thought she was looking for food. However, what she was so fervently searching for what was in fact dead roses to adorn herself with. I think that was the most poetic and beautiful thing I read about her.
You’ve had many years experience as a milliner. Do you think your work for Bodytorque is influenced by this?
Perhaps. I’ve certainly included hats in the piece. The only real aspect of millinery that is included in Nocturnal Phantasm is the sense of drama. Hats to me are all about making a statement. They complete an ensemble and highlight an element of an individual’s personality. In many ways that’s the function the hats perform in this piece.
What has it been like designing for dance?
Inspirational. Challenging at times, but mostly a really rich experience. There are a lot of new techniques that I have learnt through constructing costumes for such an intense art form. Durability, comfort and weight are huge considerations that I have learnt a lot about. At the end of the day, though, dancers are ideal beings to dress because not only are they beautiful, toned, etc. but they also know how to use their bodies; how to move.
Talk us through a favourite piece of yours.
My favourite piece from Nocturnal Phantasm is the Marchesa’s cape. It consists of layers of black satin, silver and black lace, and soft transparent chiffon. The cape is made up of about six metres of fabric so it’s very full and drapes beautifully. The layers of fabric vary in texture (glossy, matt, transparent, metallic) and create a rich, shimmering visual. I can’t wait to see this piece on stage.
What are some words that flew around your head when designing Nocturnal Phantasm?
Delicate, swift, swathing, rich, luscious, disguise and hidden.
Walk us through your studio.
The studio space I work from is in a building at the back of where I live, so it’s conveniently close. When I’m beginning a project like this one I usually spend a month beforehand reading, collecting and researching. I keep a scrapbook of anything I find that may be relevant. I sketch, collage and experiment on a two-dimensional level. That way I can communicate my ideas easily with the client, and I can rediscover ideas when problems arise in the ‘making’ component. From here I usually do some intermediate toils to complete fittings and plunge straight into pattern-making, and construction. During the construction process, however, alterations to designs and complete reworking of certain elements can always happen. Of course, the way I work varies from project to project.
Bodytorque.à la mode plays in Sydney 27 – 30 May
It was interesting to read how you tackle such a big project. I can’t wait to see your “delicate, rich, swathing luscious” costumes – all moving beautifully on the stage. Mandy G
is beauty ♥