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Hi! Just found out that Move Dancewear have now got the contract here in the UK to sell Weissman costumes . It was only just last Friday that it started. Phew! We order lots from there at this time of year so glad there is somewhere else. Still very sad for Dance Depot who I used for many years not just for Weissman. 😞
I thought we'd had a related thread, but can't find it, so hey ho, I'll start a new one, prompted by the current Manon thread. Are there any ballet costumes you really covet? (Don't worry, you don't actually have to wear them!) Ones which spring to my mind instantly are: - Manon's black dress with gold embroidery in the second act of the Royal Ballet's Manon. - Empress Elisabeth's dress in the family soiree scene in Mayerling - same colour, same embroidery (I think), same designer! - Albrecht's costume in Act II of the Royal Ballet's Giselle. - The inky blue Jasper Conran tutus in Bintley's Tombeaux. - Maybe Lise's wedding outfit in La Fille Mal Gardee
I was just reading The Arts Desk's obituary of Yolanda Sonnabend, which includes a 2006 interview with her: http://www.theartsdesk.com/dance/yolanda-sonnabend-designer-macmillans-neurotic-ballets I thought her comments were interesting: "Most of those ballets of [Diaghilev's] you just couldn't improve, I wouldn't redesign any of them. Think of Petrushka, Les Noces, Jeux, L'Après-midi d'un faune. Artistic directors everywhere now are visually blind – they have almost no outside knowledge." I take her point, bearing in mind various redesigns of ballets over the years - although in some cases perhaps they (or the designers?) could be regarded as "artistically deaf" as well, since very often the designs are at total variance with the music too? Do ADs and potential ADs need greater exposure to art and design in general, do you think?