FIRST POSITION
TWINKLING TIARAS Fun headpieces adorn the women of Rubies . While three different styles are present throughout the movement, this headpiece – shaped from wire and wrapped with cording – is covered in Swarovski crystals, faux rubies, and gold trim. Upon closer inspection, red mylar tabs also fill the gaps in between crystals to add shine and catch the light without adding weight.
IMITATION GEMSTONES Imposter jewels made from
plastic and wrapped in foil provide a lightweight and durable alternative to the real thing. Placed among an abundance of prong set jewels and Swarovski crystals, these faux gems shine just as brightly under the stage lights. These jewels embellish rich red spandex, velvet, and satin fabrics as well as souffle, nude illusion fabric used on the neckline of the women’s costume.
TWO BECOMES ONE Although it appears as one garment, the men’s costume is
comprised of two pieces: a sleeve unit and a tunic. This traditional trick to men’s ballet wear allows for more mobility. The sleeve unit’s body is made from spandex, which allows the sleeve to be made from a solid satin fabric. The tunic, made from velvet, is then worn over the sleeve unit to appear as one seamless garment.
THE PEP IN PEPLUM The women’s peplum skirt alternates between satin and velvet tabs backed with a metallic
crepe to accentuate Balanchine’s fiery choreography, and the men’s skirt follows similarly with metallic mesh. “If it were all red, it would all just kind of blend together,” says Fox. “I think with the metallic accent, you see the movement. So much of
the movement of this ballet is reflected through these little tabs.”
IN GEORGE BALANCHINE’S DECADENT BALLET JEWELS, there’s no shortage of db ya zaz lcionlgl egcet imo ns t fornoems , jveiwb real enrt Cc ol al uo rdse, aAnr pd ecllsa, sdsei cc kdse os iugtnds .a Tn hc eeras bi snt reamc te rbaal ldl es t, ,riunbsipeisr,e d a n“dI dt hi ai nmkown dhse nwyi tohuelloeogka natt di te, si ti gfne es lfsr ol imk e csoosmt uemt hei ndge soifgf naebr iKg asroiunns kdas. t a g e ,” H e a d o f C oWs t uhmi c he st rSaacnkdsrfaoFr oOxsoc abrs-ewr vi nens .i n“ Igt ’csovsetruymoel dd eHsoi gl lnyewroKoadr.”i n s k a , w h o s e g o l d e n d e s i g n years were during the height of old Hollywood. Born Varvara Zhmoudska, Karinska ei nmNi gerwa tYe odr fkr oCmi t yUi knr1a 9i n3e9atnode ms caadpee sbtroepws iinngPcaorni sf l ai cnt df rLoomn dWo on rbl de fWo raer fIi In. aGl il vy el na nadri on og m ap tl et thheoSr ac hoof ool popf oArmt uenriitci ae ns fBoar l cl eotl lbayb oBraal taino cnhfirnoem, Kbaar lilnest kt ao’ st hnee ws i l vh eormsec rpereonv. i d e d a Karinska’s designs for Jewels’ 1967 premiere expertly ties together her skill for ballet costumes and showstopping screen designs. While each costume’s basic form encompasses quintessential dance wear, the wow-factor comes down to Karinska’s af obi il l iwt yr at po pme idmpi lca tsht iec bi nr i al l isaenac eo foSf we ma reorvaslkdis c, rr yusbtiaelss, oa nn dv idbiraamn ot nf adbsr ti chsr. oTuagkhe l ai gchl tows eeri g h t look at Karinska’s beautiful designs through the Rubies costumes above.
ANATOMY OF A SCENE
The Glitz & Glamour of Jewels
A closer look at the showstopping designs of Jewels costume designer Karinska
By Jasmine Fuller Cane
HOUSTON BALLET
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