Vera Fokina by Atelier Jaeger

Atelier Jaeger (Stockholm) :: Dancer Vera Petrovna Fokina (1886-1958) in Cléopâtre, choreographic drama in one act. Choreography by Michel Fokine. Stockholm Royal Theatre, 1913 [detail] | src BnF · Gallica
Atelier Jaeger (Stockholm) :: Dancer Vera Petrovna Fokina (1886-1958) in Cléopâtre, choreographic drama in one act. Choreography by Michel Fokine. Stockholm Royal Theatre, 1913 [detail] | src BnF · Gallica
Atelier Jaeger (Stockholm) :: Dancer Vera Petrovna Fokina (1886-1958) in Cléopâtre, choreographic drama in one act. Choreography by Michel Fokine. Stockholm Royal Theatre, 1913 | src BnF · Gallica
Atelier Jaeger (Stockholm) :: Dancer Vera Petrovna Fokina (1886-1958) in Cléopâtre, choreographic drama in one act. Choreography by Michel Fokine. Stockholm Royal Theatre, 1913. | src BnF · Gallica
Atelier Jaeger (Stockholm) :: Dancer Vera Petrovna Fokina (1886-1958) in Cléopâtre, choreographic drama in one act. Choreography by Michel Fokine. Stockholm Royal Theatre, 1913 [detail, v] | src BnF · Gallica
Atelier Jaeger (Stockholm) :: Dancer Vera Petrovna Fokina (1886-1958) in Cléopâtre, choreographic drama in one act. Choreography by Michel Fokine. Stockholm Royal Theatre, 1913 [detail] | src BnF · Gallica

Michio Ito by A. L. Coburn

Alvin Langdon Coburn ~ Japanese dancer Michio Ito wearing fox mask designed by Edmund Dulac, 1915 | src The Guardian

 

Roshanara · Bassano · G.G. Bain

Bassano Ltd. ~ Roshanara (Olive Craddock), 12 July 1915 (whole-plate glass negative) | src NPG
Bassano Ltd. ~ Roshanara (Olive Craddock), 12 July 1915 (whole-plate glass negative) | src NPG
© National Portrait Gallery, London
Roshanara [between ca. 1915 and ca. 1920]. G.G. Bain News Service (glass negative) | src Library of Congress

Akarova in Allegro Barbaro, 1929

Robert de Smet :: Akarova; „Allegro Barbaro”, 1929; Archives d’Architecture Moderne, Bruksela | src Poruszone ciała. Choreografie nowoczesności
Robert de Smet :: Akarova; „Allegro Barbaro”, 1929; Archives d’Architecture Moderne, Bruksela | src Poruszone ciała. Choreografie nowoczesności

Lo Hesse as Ahnfrau

Franz Xaver Setzer :: Dancer Lo Hesse as ‘Ahnfrau’ (Ancestress) in a costume designed by Walter Schnackenberg, 1924. Photo © Archiv Setzer-Tschiedel | src Getty Images | related post: here

Lo Hesse in ‘Ahnfrau’, 1924

Franz Xaver Setzer :: German dancer Lo Hesse as ‘Ahnfrau’ (Ancestress) in a costume designed by Walter Schnackenberg, Vienna, 1924. (Photographie von Archiv Setzer-Tschiedel) | src Getty Images

The Beaumont Ball of 1924

Marchesa Luisa Casati in a fountain dress made of wires and lights by couturier Paul Poiret, at the Beaumont Ball held by the Count Etienne de Beaumont in Paris, 1924.

The Beaumont Ball in Paris 1924 (an event with a guest list so selective that Gabrielle Coco Chanel was excluded for being too ‘trade’), was a homage to Pablo Picasso and the Cubists. The dress made entirely from wires and lights, it was too wide for the entrance to Beaumont’s ballroom: the artist Christian Bérard, who witnessed Marchesa Luisa Casati attempting to squeeze through the doorway, reported that she collapsed like a “smashed zeppelin”. (x)

De Beaumont’s fêtes reached an apex in 1924 with the ballet series Soirées de Paris, which took place at the Théâtre de la Cigale in Montmartre from May 17 to June 30, 1924. An homage to the review of the same name by Guillaume Apollinaire, the series included the scandalous ballet Mercure, which featured music composed by Erik Satie, sets and costumes designed by Pablo Picasso, and choreography devised by Léonide Massine. (x)

src lamarchesacasati

Rigmor Rasmussen in Der Zug nach dem Westen

Atelier Balázs ~ Rigmor Rasmussen in the revue ‘Der Zug nach dem Westen’ (The Train to the West), Berlin, 1926 | src getty images

Toboggan Mann von Lavinia Schulz

Minya Diez-Dührkoop :: Tanzmaske “Toboggan Mann” von Lavinia Schulz. Costume designs by Lavinia Schultz and Walter Holdt for “Bibo”, 1924. | src MK&G · Museum für Kunst und Gewerbe (Hamburg)
Minya Diez-Dührkoop :: Tanzmaske “Toboggan Mann” von Lavinia Schulz. Costume designs by Lavinia Schultz and Walter Holdt for “Bibo”, 1924. | src MK&G · Museum für Kunst und Gewerbe (Hamburg)
Minya Diez-Dührkoop :: Tanzmasken “Toboggan Frau” und “Toboggan Mann” von Lavinia Schulz. Costume designs by Lavinia Schultz and Walter Holdt for “Bibo”, 1924. | src MK&G · Museum für Kunst und Gewerbe (Hamburg)

Leonor Fini in owl mask, ca. 1949

André Ostier :: Leonor Fini wearing a ball costume and the famous mask of a Snowy Owl, ca. 1949. | src stephen ellcock
André Ostier :: Leonor Fini wearing a ball costume and the famous mask of a Snowy Owl, ca. 1949. | src stephen ellcock
André Ostier :: Leonor Fini wearing a ball costume and the famous mask of a Snowy Owl, ca. 1949. | src stephen ellcock
André Ostier :: Leonor Fini wearing a ball costume and the famous mask of a Snowy Owl, ca. 1949. | src stephen ellcock

Fini’s owl mask originates with the New Year’s Eve party called the Bal des Oiseaux given at the Palais Rose on the avenue Foch, Paris, by Vicomte Charles Benoist d’Azy at the end of 1948. Webb writes, “she wore an owl mask of white feathers with headdress and gown of black-and-green-striped feathers. A series of dramatic photographs of her in this costume, as well as in the costumes for other balls of 1947 and 1948, were taken by Andre Ostier and widely published in newspapers and magazines, and Pauline Reage used the same mask in the final scene of her erotic novel Histoire d’O (Story of O), which was later illustrated by Leonor.”

Quotation from Peter Webb’s biography: Sphinx – The Life and Art of Leonor Fini

Retrieved from Story of O