from left to right:
1st costume sketch is gouache on paper for Ganna Walska as Marguerite, Faust 1920 - it was done in velvet, lame, silk, and faux pearls - the original Faust Composer was Charles Gounod and it premiered March 19, 1859 at Theatre Lyrique, Paris. Marguerite's gown is in the style of 16th century but its fabrication in plush velvet is more in keeping with the taste of the early 20th century. The other 2 costume sketches for Ganna Walska as the Countess, Le Nozze di Figaro (Marriage of Figaro) 1923
Ganna Walska: born Poland 1887 Hanne Puacz lived in Santa Barbara owned Theatre de Champs Elysees, Paris 1923-1973. More sketches and costumes included:
Ganna Walska as Louise; Ganna Walska as Mimi, La Boheme Ganna Walska as Melisande, Pelleas et Melisande 1931 -its Composer was Claude Debussy and it premiered April 10, 1902 at Opera Comique, Paris; 2 costume sketches for Ganna Walska as Donna Elvira, Don Giovanni (Don Juan) 1923 - done in lame velvet silk faux pearls, its Composer was Wolfgang Amadeus Mozart and it premiered October 29, 1787 at the Estates Theater, Prague; costume for Ganna Walska as Violetta Valery, La Traviata 1923 - done in shot silk metallic thread, rhinestones it was made by Redfern Couture House, which was founded in London 1855 and active in Paris 1881-1929, its Composer was Guiseppe Verdi and it premiered March 6, 1853 at La Fenice, Venice; 6 costume sketches done in gouache on paper for Ganna Walska as Gilda, Rigoletto 1922 - made in silk velvet, linen, suede, velvet, leather, plastic - the opera was set in the 16th century, its Composer was Guiseppe Verdi and it premiered March 11, 1851 at La Fenice, Venice; 3 costume sketches for Ganna Walska as Manon Lescaut, Manon 1920 - its Composer was Jules Massenet and it premiered January 19, 1884 at the Opera Comique, Paris; 4 costume sketches for Ganna Walska as Floria Tosca, Tosca 1919 - its Composer was Giacomo Puccini and it premiered January 14, 1900 at the Theatro Costanzi, Rome; costume sketch for Ganna Walska as Aphrodite; 6 costume sketches for Ganna Walska as Zaza, Zaza - done in painted silk made in a Chinese silk reproduction; 3 costume sketches 1939: L' Institutrice (the School Teacher), possibly for Scala Theater, Berlin; Les Orientals, possibly for Scala Theater, Berlin; and Le Magicien (the Magician), possibly for Scala Theater, Berlin
top row from left to right:
Colombine 1937; Barbey 1939; Le Garnet du Bal (the Dance Card), revue at the Bal Tabarin 1939; and Pierrot, Le Bal de l'Opera at the Bal Tabarin 1939
bottom row from left to right:
Deuxieme Masque Snob (Second Mask for a Snob) Le Bal de l'Opera at the Bal Tabarin 1939; Troisieme Masque Snob (Third Mask for a Snob) Le Bal de l'Opera at the Bal Tabarin 1939; Premier Masque Hilare (First Laughing Mask) Le Bal de l'Opera at the Bal Tabarin 1939; and Deuxieme Masque Hilare (Second Laughing Mask) Le Bal de l'Opera at the Bal Tabarin 1939
another picture of second and third "snob" masks
This kimono is an example of the Western approach to construction of a traditional Asian garment. The body of an authentic Japanese kimono is composed of two full widths of fabric, so that the garment is flat and rectangular, while the Western adaptation cuts into the full width, trimming the fabric away at the waist and hips and widening the shirt. When the Obi (sash) is tied around the middle, a completely different silhouette is achieved; where the Japanese kimono is cylindrical, the European version has a distinct A-shape. As a costume, this garment's shape made it easier to navigate the stage and to change between acts, as well as being more flattering to the star's figure.
|(orange Obi) silk metallic thread embroidery, painted silk and (pink kimono) silk chiffon, rhinestones, silk crepe
(teal blue, blue, periwinkle blue squares with white flowers on Obi) Silk painted silk faille
Erte created a fascinating combination of East and West in Cio-Cio-San's wedding kimono. He appropriated a traditional Japanese hexagonal motif, the Kikko, and with the nested squares depicted an enlarged simulation of the Japanese shibori tie-dye technique. The costumes palette, however, is reminiscent of ballet in St. Petersburg and the Ballets Russes, and the symmetry of format is more European than Japanese.
With pattern placement, scale, and color choice, the kimono is transformed into a textile more typical of French Art Deco.
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