ABSTRACT

THE LURE OF PERFECTION: FASHION AND BALLET, 1780-1830 offers a unique look at how ballet influenced contemporary fashion and women's body image, and how street fashions in turn were reflected by the costumes worn by ballet dancers. Through years of research, the author has traced the interplay between fashion, social trends, and the development of dance. During the 18th century, women literally took up twice as much space as men; their billowing dresses ballooned out from their figures, sometimes a full 55 inches, to display costly jewelry and fine brocade work; similar costumes appeared on stage. But clothing also limited her movement; it literally disabled them, making the dances themselves little more than tableaux. Movement was further inhibited by high shoes and tight corsets; thus the image of the rigidly straight, long-lined dancer is as much a product of clothing as aesthetics. However, with changing times came new trends. An increased interest in natural movement and the common folk led to less-restrictive clothing. As viewers demanded more virtuosic dancers, women literally danced their way to freedom.

THE LURE OF PERFECTION will interest students of dance and cultural history, and women's studies. It is a fascinating, well-researched look at the interplay of fashion, dance, and culture-still very much a part of our world today.

chapter |7 pages

The Lure of Perfection

Fashion and Ballet, 1780–1830

chapter 1|26 pages

Setting the Stage

Aristocratic Fashion and Baroque Body Politics Before the French Revolution

chapter 3|28 pages

The Moderate and the Outrageous

chapter 4|24 pages

Neoclassicism 1780–1820

chapter 5|30 pages

The Consulate (1799–1804) and the Empire (1804–1815) of Napoléon

Imperial Designs Pervade Street and Stage Fashion

chapter 6|18 pages

Restoration—one Bourbon Returns!

Louis Xviii and the Restoration (1815–1824)

chapter 7|14 pages

Pale Goddesses On the Street During the Romantic Movement

Charles X Ruled France From 1824–1830

chapter 8|28 pages

The Kingdom of the Opera

Pale Goddesses On the Stage (1824–1830)

chapter 9|13 pages

The Turning Point

“The Ballet of the Nuns” and La Sylphide

chapter 10|18 pages

The Dark Side of White