Well, it has been a moment since I’ve been in your inbox… thanks for letting me land here! I’m navigating some changes in my schedule, with less time for what I call “selfish sewing”, but I have managed to get a few projects done these past months, just haven’t written anything up and formed it into a newsletter! Pulling this project, based on Altman’s “The Company” out of the back log, and finally giving it some air time, plus some thoughts on ballet as a reference in fashion. I may be a little short-winded as I find my rhythm once again, but I am happy to be back!
I had seen The Company once before, and besides some very memorable dancing, I could only recall a feeling that I did not follow the plot at all, had it a plot? The Company is a glimpse into an American ballet company, modeled after The Joffrey Ballet Chicago and including their exceptional dancers. It spans the length of a performance season and offers some very generous excerpts of the company’s repertory, a favorite of mine being Light Rain choreographed by Gerald Arpino. The movie has it’s own rhyme and reason and the very specific timeline of a single season means the viewer is dropped into the middle of things, gleaning the hierarchies and interpersonal dramas already in place, seeing some events come and go, and other storylines begin but not complete before the season is up. What this movie does well is present the ballet world much like it is, without romanticizing or demonizing.
The use of an actual ballet company in the filling out of the film lent a lot of authenticity, especially in how the dancers dressed for class and rehearsals. Film portrayals of ballet have a tendency to lean into the popular imagination more than reality, which to me are the trims and trappings of students (pink everything, slick buns) rather than professionals, so I was happy to see some more haphazard looks throughout the movie, like the image above.
As a reference in fashion, ballet is quite ubiquitous and the “ballet-core” of the past few years has played into the more traditional and girlish trimmings of ballet students. As a former ballet dancer, this is often oh-so cringey to me… though I did buy-in with some flamingo-pink ballet flats that have hardly left my feet since I got ‘em. Prada sent some really lovely and ethereal sheer silk organza numbers down the runway for Spring/Summer ‘24, and it feels to me that ballet as reference is maturing into more of its professional phase. I’m thinking of sheer fabrics, layers, some bagginess mixed in with those softer feminine touches, and I’m more on board ;) . I was inspired by the two images above to create a sheer skirt, “rehearsal” length (as in the ABT photo), in organza.
Wearing it over a unitard, I did feel inspired to get a few twirls in and demonstrate to my husband that I still have enviable balance! I’m also picturing it underneath dresses, giving a sheer extension to shorter hems, or with bike shorts dressing up some standard athleisure faire.
My feelings toward ballet have seen quite a bit of renegotiation as of late. What did ballet give to me, what did it take, and how is this felt now I no longer do it? Dressing with this reference makes me nostalgic in both good and bad ways. I can only hope to remember my time spent in that way of life as accurately as possible, there is a middle-way to see it, as this movie demonstrated. Taking what I like with me. Dancing is wonderful! The fashion is fun! It’s a beauty to behold! I’ll leave the rest ;)
Great questions and analysis! Ready for more posts please! :-)
I remember well the fashions from practice to performance. Your sheer skirt would have been the envy of all the company girls. ❤️