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...and little bit of orange Halloween light :) Dress ($1.975) by couture Evgenia Luzhina-Salazar (www.luzhina.com/) . Model: Dominique.
Nikon D60 + Hasselblad Carl Zeiss Planar T* 80mm f2.8 lens.
Light: one Norman strobe with umbrella. Silver reflector.
Ms. Vera, the amazing makeup artist, costume designer and founder of 'Verasphere' poses at the 40th annual (2010) LGBT Pride Parade in San Francisco, California. The character, 'Ms. Vera' was created by Michael Johnstone and his partner David Faulk and named after the popular designer of scarves. Ms. Vera's costumes embody "fragments of a drag memory tornado" says Johnstone. She wears accessories created from recycled objects and is also the keeper of wigs and artifacts from Johnstone's "lost culture". In public, Ms. Vera (David Faulk) and Johnstone ('Mister Tina') act as ambassadors at events and festivals to remind people to value difference and celebrate the eccentric aspects of daily life. They often engage friends to participate in group performances.
Eiko Ishioka was a Japanese art director... costume designer and graphic designer known for her work in stage, screen, advertising and print media
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“I'm not genius, I'm disciplined”
Eiko Ishioka
A story of five otherworldly creatures, who sneaked into our world and tried to blend in human's daily routine ...poorly.
Photographer and art director: Andrew Kovalev ckovalev.com
Masks: Ilya Varegin, Svetlana Vorontsova
Shoes & accessories: Drasvi Venn
Props: Elena Agafonova, Alexey Chugunny
Engineering Director: Timur Ivanov
Producer: Anna Bednieri
BTS-videographer: Elina Wexler
Model: Evgeni Zamyatin
With help of Elena Tash
A very special thanks to Elena Agafonova for her amazing Z1121 space (Зелёный Цех 1121)
Special thanks to SBF Moscow/Broncolor Russia/Sinar Swiss for technical support
Impeccable film development and scanning services: DPArtphoto lab
A story of five otherworldly creatures, who sneaked into our world and tried to blend in human's daily routine ...poorly.
Photographer and art director: Andrew Kovalev ckovalev.com
Masks: Ilya Varegin, Svetlana Vorontsova
Shoes & accessories: Drasvi Venn
Props: Elena Agafonova, Alexey Chugunny
Engineering Director: Timur Ivanov
Producer: Anna Bednieri
BTS-videographer: Elina Wexler
Model: Evgeni Zamyatin
With help of Elena Tash
A very special thanks to Elena Agafonova for her amazing Z1121 space (Зелёный Цех 1121)
Special thanks to SBF Moscow/Broncolor Russia/Sinar Swiss for technical support
Impeccable film development and scanning services: DPArtphoto lab
Gold dress with kokoshnik. JenkasFashion session with Dominique. Costume by couture Evgenia Luzhina-Salazar (www.luzhina.com/) . Model: Dominique.
Nikon D60 + Hasselblad Carl Zeiss 80mm f2.8 lens.
French fashion designer Paul Poiret (1879-1944) was the King of Fashion in the 1910s… Spurred on by the success of the Ballets Russes production of Schéhérazade, Poiret gave full vent to his orientalist sensibilities, launching a sequence of fantastical confections, including "harem" pantaloons in 1911 and "lampshade" tunics in 1913 (earlier, in 1910, Poiret had introduced hobble skirts, which also can be interpreted as an expression of his orientalism). As well as hosting a lavish fancy-dress party in 1911 called "The Thousand and Second Night," in which the fashions reflected a phantasmagoric mythical East, he also designed costumes for several theatrical productions with orientalist themes, most notably Jacques Richepin's Le Minaret, which premiered in Paris in 1913 and presented the couturier with a platform on which to promote his "lampshade" silhouette.
Even when Poiret reopened his fashion business after World War I, during which he served as a military tailor, orientalism continued to exercise a powerful influence over his creativity. By this time, however, its fashionability had been overshadowed by modernism. Utility, function, and rationality supplanted luxury, ornament, and sensuality. Poiret could not reconcile the ideals and aesthetics of modernism with those of his own artistic vision, a fact that contributed not only to his diminished popularity in the 1920s but also, ultimately, to the closure of his business in 1929. [The Metropolitan Museum of Art’s “Heilbrunn Timeline of Art History” at www.metmuseum.org/toah/hd/poir/hd_poir.htm]
Photo shot by Jamais VU of my Julia cosplay from Cowboy Bebop. July 2007. Costume design by Annissë.
Tamara Karsavina began her professional career with Russia's Imperial Ballet in 1902, at age 17, and rose quickly through the ranks to become a leading ballerina. She began traveling to Paris in 1910 to dance with the Ballets Russes. Her most famous roles were in the ballets of Michel Fokine, her most famous being the title role in the "Firebird." Tamara Karsavina helped establish England's Royal Ballet and was a founding member of the Royal Academy of Dance.
Petrushka [French: Petrouchka] premiered June 13, 1911 at the Theatre du Chatelet in Paris with costume and scenery design by Alexandre Benois, music by Igor Stravinsky and choreography by Michel Fokine. The ballet is set in Admiralty Square in St. Petersburg, just before Lent in 1830, during the annual Butter Week Festival.
“An old and dastardly showman, the Charlatan, demonstrates his lifelike puppets—sad and ugly Petrouchka, a rag doll; the beautiful but vapid Ballerina and the Moor, a brutish exhibitionist—to an eager crowd of boulevardiers, colourful peasantry and other performers. Between their performances the puppets are imprisoned in rooms in the Charlatan’s booth. Both Petrouchka and the Moor are in love with the Ballerina. Petrouchka’s advances towards her provoke the Moor to attack and kill him with a scimitar. This tragic scenario unfolds in front of the shocked and horrified spectators. The Charlatan hastens to disprove the events by demonstrating that Petrouchka is only a doll filled with sawdust. However, after the crowd leaves the square the ghost of the marionette appears above the booth, menacing the horrified Charlatan.
“Petrouchka reflects a brilliant fusion of the creativity of Stravinsky, Benois and Nijinsky. Developed from Stravinsky’s 1910 piano work, Petrouchka’s cry, the ballet reflected the interest of the miriskusniki in street theatre, mime, puppet shows (balagani), and the traditions of commedia dell’arte. The use of puppets, particularly in the implicit racism of the depiction of the black Moor and the vapidity of the Ballerina, allowed Stravinsky and Fokine to exploit racial stereotypes within the changing cultural and ethnic landscape of nineteenth-century Russia. In the role of the lifeless Petrouchka, animated and annihilated by love, Nijinsky gave his most memorable and accomplished performance, not least because his grotesque characterisation of the controlled and brutalised puppet was deliberately at odds with his usual feline grace on stage.” [Synopsis by the National Gallery of Australia]
This comic ballet as it was conceived by Stravinsky, Fokine and Benois may be viewed on Youtube. Here are the links:
Part 1: www.youtube.com/watch?v=JbWDG3LU4bc
Part 2: www.youtube.com/watch?v=bmf5T57sFHw
Portrait of the model in gold dress. Ashley.
Gold dress "Zlatoslava" with head piece ($5.470) by couture Evgenia Luzhina-Salazar (www.luzhina.com/). Winner of Helen Hayes Awards 2010. Nominee for the National Award in Public Relations "Silver Archer", The Russian Federation. Dress from Couture Fashion Week - New York.
Nikon D60 + Hasselblad Carl Zeiss Planar T* 80mm f2.8
RB: Within the Golden Hour/Medusa/Flight Pattern
The Royal Ballet presents a new triple bill, featuring a world premiere by Sidi Larbi Cherkaoui and revivals of works by Christopher Wheeldon and Crystal Pite at The Royal Opera House, Covent Garden, 8-21 May 2019.
Within the Golden Hour
Choreography; Christopher Wheeldon
Music: Ezio Bosso and Antonio Vivaldi
Costume designer: Jasper Conran
Lighting designer: Peter Mumford
Dancers: Beatriz Stix-Brunell, Lauren Cuthbertson, Sarah Lamb, Vadim Muntagirov, Ryoichi Hirano, Alexander Campbell
Medusa
Choreography: Sidi Larbi Cherkaoui
Music: Henry Purcell
Electronic music: Olga Wojciechowska
Costume director: Olivia Pomp
Lighting designer: Adam Silverman
Set concept and design: Sidi Larbi Cherkaoui and ROH Production
Associate choreographer: Jason Kittelberger
Dancers:
Medusa: Natalia Osipova
Athena: Olivia Cowley
Perseus: Matthew Ball
Poseidon: Ryoichi Hirano
Flight Pattern
Choreography: Crystal Pite
Music: Henryk Mikołaj Górecki
Set designer: Jay Gower Taylor
Costume designer: Nancy Bryant
Lighting designer: Tom Visser
Dancers: Kristen McNally, Marcelino Sambé & Artists of The Royal Ballet
photo - © Foteini Christofilopoulou | All rights reserved | For all usage/licensing enquiries please contact www.foteini.com
By kind permission of the Royal Opera House
New Movement Collective: Collapse, A Period Drama
New Movement Collective (NMC) premieres their new work 'Collapse - a period drama' at the Royal Festival Hall, Southbank Centre. 30 July-6 August 2016.
Choreography, concept + performance: New Movement Collective
Sculpture, design + film: Scanlab Projects
Composer + cello: Oliver Coates
Lighting design: Zeynep Kepekli
Performers: Clemmie Sveaas, Patricia Okenwa, Alexander Whitley, Jonathan Goddard, Joe Walkling, Renaud Wiser
photo - © Foteini Christofilopoulou | All rights reserved | For all usage/licensing enquiries please contact www.foteini.com
Sexy dress. Dominique. Dress ($1.975) by couture Evgenia Luzhina-Salazar (www.luzhina.com/) . Model: Dominique.
Nikon D60 + Hasselblad Carl Zeiss Planar T* 80mm f2.8 lens.
Light: one Norman strobe with umbrella. Silver reflector.
RB: Within the Golden Hour/Medusa/Flight Pattern
The Royal Ballet presents a new triple bill, featuring a world premiere by Sidi Larbi Cherkaoui and revivals of works by Christopher Wheeldon and Crystal Pite at The Royal Opera House, Covent Garden, 8-21 May 2019.
Within the Golden Hour
Choreography; Christopher Wheeldon
Music: Ezio Bosso and Antonio Vivaldi
Costume designer: Jasper Conran
Lighting designer: Peter Mumford
Dancers: Beatriz Stix-Brunell, Lauren Cuthbertson, Sarah Lamb, Vadim Muntagirov, Ryoichi Hirano, Alexander Campbell
Medusa
Choreography: Sidi Larbi Cherkaoui
Music: Henry Purcell
Electronic music: Olga Wojciechowska
Costume director: Olivia Pomp
Lighting designer: Adam Silverman
Set concept and design: Sidi Larbi Cherkaoui and ROH Production
Associate choreographer: Jason Kittelberger
Dancers:
Medusa: Natalia Osipova
Athena: Olivia Cowley
Perseus: Matthew Ball
Poseidon: Ryoichi Hirano
Flight Pattern
Choreography: Crystal Pite
Music: Henryk Mikołaj Górecki
Set designer: Jay Gower Taylor
Costume designer: Nancy Bryant
Lighting designer: Tom Visser
Dancers: Kristen McNally, Marcelino Sambé & Artists of The Royal Ballet
photo - © Foteini Christofilopoulou | All rights reserved | For all usage/licensing enquiries please contact www.foteini.com
By kind permission of the Royal Opera House
Famed opera singer Maria Kuznetsova participated in, and helped to finance, Sergei Diaghilev’s Ballets Russes in London and Paris on the eve of World War I. With the help of her friend, the artist and designer Léon Bakst, Kuznetsova won the role of Potiphar's wife in Richard Strauss's ballet “La Légende de Joseph” in 1914. It was produced by Diaghilev, composed and conducted by Strauss, choreographed by Michel Fokine, and designed by Leon Bakst, Alexandre Benois and José Maria Sert, while the lead was danced by Léonide Massine.
It was an important role, and Kuznetsova was certainly in good company, but they were held to a punishing schedule with little time to rehearse. To make matters worse, Strauss was in a foul mood because his lover, Ida Rubinstein, who was to have danced Lydia Sokolova's role, had abruptly abandoned the project. Furthermore, Strauss abhorred working with French musicians, and was constantly at daggers drawn with the orchestra. Diaghilev, meanwhile, had not yet recovered from Vaslav Nijinsky's departure the previous year from the Ballets Russes. Nijinsky had choreographed and created the title role – replaced after his marriage and fall from grace by Fokine and Massine.
Despite the problems backstage and an outraged British press, who found the work obscene, the ballet successfully debuted in both London and Paris that spring. The initial run lasted seven performances. This was shortly followed by a further seven in London conducted by Sir Thomas Beecham, who had loaned the money for the commission to Diaghilev. With the looming war, Strauss never received his fee of 6,000 francs. In 1947 Strauss prepared a Symphonic Fragment from The Legend of Joseph, for reduced orchestra. This was premiered in March 1949 in Cincinnati under Fritz Reiner.
The ballet is based on the biblical story of Joseph who was sold into slavery by his brothers. Of all the brothers, Joseph was loved the most and given a long coat of many colors by his father. Jealousy led the brothers to sell Joseph to serve Potiphar, the captain of Pharaoh’s guard. Joseph found favor with Potiphar and prospered in everything he did, eventually becoming overseer of Potiphar’s entire household. Potiphar’s wife began to desire Joseph and sought to have an affair with him. He refused but she persisted and, after some days of begging for him, she made a false claim against him by charging that he tried to rape her. This resulted in Joseph’s imprisonment. [Based on Information in Wikipedia]
Different ballet companies offer portions of Strauss’ “Legend of Joseph” in the following Youtube videos:
www.youtube.com/watch?v=M6Axre3KPP8
New Movement Collective: Collapse, A Period Drama
New Movement Collective (NMC) premieres their new work 'Collapse - a period drama' at the Royal Festival Hall, Southbank Centre. 30 July-6 August 2016.
Choreography, concept + performance: New Movement Collective
Sculpture, design + film: Scanlab Projects
Composer + cello: Oliver Coates
Lighting design: Zeynep Kepekli
Performers: Clemmie Sveaas, Patricia Okenwa, Alexander Whitley, Jonathan Goddard, Joe Walkling, Renaud Wiser
photo - © Foteini Christofilopoulou | All rights reserved | For all usage/licensing enquiries please contact www.foteini.com
Three o'clock at rehearsal on Sunday. Three of the cast in discussion finding out how fabulous they will look in our upcoming production of La Cage Aux Folles. One of them is the costume designer. Three of a kind.
#msh0817 and #msh0817-3 Flickr monthly Scavenger Hunt August
Our daily challenge : 3 of a kind