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Style Moulins celebrates the marriage of dance and haute couture

11:25  11 july  2020
11:25  11 july  2020 Source:   lefigaro.fr

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Would the Léon Bakst exhibition at the Paris Opera have set the tone? The Moulins National Center for Stage Costume celebrates in turn the love of dance and haute couture. Here, in a formidable scenography, a century of collaboration between the needle and the points - two arts which always married requirement and excellence. 130 costumes, signed by the most emblematic creators, were gathered on 1500 m².

Philippe Noisette, the exhibition's curator, had the good idea to refuse the facility to present them. Rather than a chronological order, he chose to marry them by theme, sometimes even mixing classical dance and contemporary dance. We thus discover associations of artists long over several years: Saint-Laurent and Roland Petit, Jean-Paul Gaultier and Régine Chopinot or between Gianni Versace and Béjart. This last tandem, which we admire in the last room, is probably one of the big surprises of this exhibition: we are amazed by the talent of costume designer Gianni Versace. In addition to the funds of the National Center, the ballets were loaned by the Paris Opera, the Royal Ballet in London, the Rome Opera, the Ballets of Monte Carlo, the Het national in Amsterdam…

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The exhibition is exalted with brilliantly the magic of these masterpieces, which Christian Lacroix sums up in one sentence: " I love these crazy things and the tutu is one of them. »We are also amazed by her tutu in shades of pink to fluorescent, or by this body branded Dior in double silk thread, mounted in one piece, and which turns into a herbarium. And what about the tutus by Issey Miyake, designed for the Forsythe ballet? A few grams of dreams, hung like mobiles dancing with the wind! Due to the pandemic, this exhibit is exceptionally extended until November 1. It will be a must stop on the way to vacation.

National Costume Center, Moulins until November 1


Video: In Moulins, the meeting of dance and haute couture (Le Figaro)

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