“Bodymap,” dancer and choreographer Michael Clark says, “is trying to do the same kind of thing I’m trying to do with classical ballet, but with design – taking very basic design and trying to look at it in a different way.” FOLLOW ME Magazine, August 1987.

Classical ballet was in for a shock when the baby-faced “Nijinsky with a Mohawk” Michael Clark, the enfant terrible of ballet, collaborated with David Holah and Stevie Stewart, designers of Central Saint Martin’s most forward-thinking label Bodymap.

In the 1980s, ballet was gripped at the throat by the anarchic youth culture of sex, fashion and performance art. It wasn’t just the look of the dancers that changed but the feel and sound of ballet as well. Clark enlisted the help of avant-garde performance artist Leigh Bowery and live music by post-punk groups in the London scene:  Wire, The Fall and Laibach.

In Clark’s large-scale production No Fire Escape in Hell (1986) dancers wore hand-printed, buttock-baring unitards with batwing sleeves and strapped-on rubber appendages from sex shops. Leigh Bowery – a magnificent sight in ten-inch heels – wielded a chainsaw.

Ballet once again had influence on the catwalk. Clark regularly performed at Bodymap and Vivienne Westwood fashion shows, and in film clips. In Scritti Politti’s clip for ‘Wood Beez (Pray like Aretha Franklin) 1985’, Clark performs clad head-to-toe in Bodymap. Youth culture penetrated ballet and it never looked so good.

Michael Clark pushes the boundaries of ballet to this day; the collaborators have changed, the music is different, but the spirit of style, design and anarchy live on.

Mia Veur is a freelance womenswear buyer and stylist