From the court of Versailles to your fyp: A mesmerizing trend is pirouetting into the spotlight in the enchanted domain of fashion, gently embracing the charm of ballerina aesthetics. This ethereal trend, known as Balletcore, is more than a passing fad; it's a harmonious fusion of history, style, and self-expression that has won the hearts of fashion fans worldwide.
Balletcore, like a prima ballerina in the spotlight, delicately combines the timeless beauty of dance with current echoes of fashion. A trip through the history of ballet reveals a fascinating tapestry of nobility, revolution, and artistic progress.
As we investigate the beginnings of ballet, we come upon its aristocratic roots, which date back to the 15th-century Italian Renaissance courts. Jennifer Homans, a dance historian, provides a vivid image of ballet's continuing legacy, where gestures of reverence and bows harken back to courtly manners. In 1661, Louis XIV of France elevated ballet to the status of an artistic institution, giving birth to the Royal Academy of Dance.
Ballet's journey, however, was not always a delicate dance. Ballet underwent a seismic shift in the nineteenth century, transitioning from a male-dominated art form to one associated with femininity. This shift was aided by factors such as the commercialization of dance, the advent of pointe shoes, and the romanticization of supernatural tales.
The 19th-century costume revolution produced classic pictures, such as Marie Taglioni's ethereal dress in La Sylphide, laying the way for the tutu's birth. Sergei Diaghilev's Ballets Russes, a pioneering company created in Paris, pushed dance into the world of high fashion. Collaborations with luminaries like as Picasso, Matisse, and Chanel gave birth to a visual language that is still relevant today.
Fast forward to the twentieth century, when ballet's popularity grew during the physical culture craze of the 1920s. The once-shunned male dancer has returned to the spotlight, ushering in a new era of representation. The Ballets Russes influenced designers such as Coco Chanel, establishing a symbiotic relationship between dance and haute couture.
Balletcore arose in 2022 as a merging of two separate ballet-inspired fashion movements. Vintage romantic performance costumes inspire one, while the casual elegance of practice clothes inspires the other. Balletcore devotees dress in arm and leg warmers, tights, flared leggings, silk slip dresses, and the classic ballerina flat.
Balletcore's fascination stems not only from its sartorial appeal but also from its relevance to human experiences. Balletcore, according to stylist Madeleine Jones, is the inevitable development of athleisure, bringing a theatrical twist to everyday comfort. The idea allows people to dress up without feeling overdressed, giving the athleisure trend a feminine twist.
However, when Balletcore enters the spotlight, it is critical to examine the shadows it casts. The trend's lack of diversity, particularly in the representation of dancers of colour, raises issues. Ballet's racial history, exemplified by the challenge to find pointe shoes that match different skin tones, deserves recognition and transformation.
Furthermore, Balletcore's adoration of waif-like figures raises red flags. Some gatekeepers' poisonous discourse might inadvertently celebrate mental illness and create harmful body image norms. Misty Copeland's open remarks about her challenges in the ballet profession serve as a sobering reminder of the importance of reform.
Finally, Balletcore entices with its captivating combination of history and flair, constructing a story that transcends time. While we celebrate the delicate beauty of this trend, let us not lose sight of our mission to promote diversity, challenge unhealthy standards, and honour the genuine spirit of ballet - an art form that speaks to the soul and transcends the stage.
Works Cited
Karthas, Ilyana. “The Politics of Gender and the Revival of Ballet in Early Twentieth-Century France.” Journal of Social History, vol. 45, no. 4, 2012, pp. 960–89, https://doi.org/10.2307/41678946.
Oliver, Wendy. “Reading the Ballerina’s Body: Susan Bordo Sheds Light on Anastasia Volochkova and Heidi Guenther.” Dance Research Journal, vol. 37, no. 2, 2005, pp. 38–54, https://doi.org/10.2307/20444640.
Tomic-Vajagic, Tamara. “The Dancer at Work: The Aesthetic and Politics of Practice Clothes and Leotard Costumes in Ballet Performance.” Intellect, 1 Oct. 2014, https://www.researchgate.net/publication/268284148_The_dancer_at_work_The_aesthetic_and_politics_of_practice_clothes_and_leotard_costumes_in_ballet_performance. Accessed 22 Nov. 2023.
Turk, Mariko. “Project MUSE - Girlhood, Ballet, and the Cult of the Tutu.” Children’s Literature Association Quarterly, vol. 39, no. 4, pp. 482–505, https://doi.org/10.1353/chq.2014.0065. Accessed 22 Nov. 2023.