Emilia Wickstead Resort 2023
For Resort 2023, Emilia Wickstead examines the rigour and poise of the art of ballet. An intrinsic fascination with the codes and language of rehearsal time, the discipline and preparation ahead of the main performance, is the focus of the collection.
Both the juxtaposition — and the synergy between — the casual ease of rehearsal uniform and the restrained drama of costume, are explored. Wrap cardigans and feminine draping recall soft layers, shrugged on or off during call times. The rigidity of training contrasts with the comfort and ease of cable knit sweaters, worn as a layer of protection, enveloping the body to warm the muscles. Soft tailoring in navy pinstriped wool pays homage to the teacher, as much the muse as the dancer. Godet miniskirts in light pink wool are a modern interpretation of the playful, clean lines of a dancer’s tutu.
Just as dancers communicate with their bodies, the clothing becomes an extension of the wearer, enhancing the movement and shape of torsos, shoulders, legs. Thin straps and square necklines suggest the austerity of a leotard, as do form fitting sleeves and bodices. Exacting cuts, deceptively simple, mirror the grace and ease that belies the complex execution of the dance.
The drama of the stage is not forgotten. Sparkling silver tweed channels the dazzling costumes of a prima ballerina (the fabric has stretch for a modern twist on glamour and wearability). Sculptural taffeta taille, crimson red lace and fuchsia jacquard are applied to voluminous gowns with unexpected lightness. Trains and bustles contrast with athletic, strapless tops that reveal decolletage and allow the wearer to move gracefully.
Prints throughout the collection are inspired by the theme of the rose, and the symbolic significance of a rose given to the dancer. Scattered petals echo the audience throwing flowers, signalling the celebration of an impeccably executed act.
To present the collection, the garments have been photographed on a cast of real dancers. Photographed at The English National Ballet’s Centre for Dance, the portraits capture the character and essence of each dancer, their commitment to, and love of, their craft, and narrate the interplay between cast members, teacher, and pupil.
The ensemble includes:
• Precious Adams – Soloist, English National Ballet, who began studying classical ballet at the age of nine with Sergey Rayevskiy at the Academy of Russian Classical Ballet in Michigan. In
September 2018, Adams announced publicly that she would no longer perform on stage while wearing pink tights, instead wearing brown tights to match her skin tone. Adams was named as one of the BBC’s 100 Women in 2019.
• Katharina Nikelski – Artist, The Royal Ballet, who was born in Salzburg, Austria, and began her training at the age of five. She made her debut as a model in British Vogue in June 2020 and is also an actress.
• Marianna Tsembenhoi - Artist, The Royal Ballet, who was born in Kiev and began her training at the age of three. She won silver and gold medals in 2016 and in 2017 won a scholarship to The Royal Ballet School.
• Elizabeth McGorian – Principal Character Artist, The Royal Ballet, who was born in Zambia and grew up in Zimbabwe. She has worked for The Royal Ballet for over 45 years, joining the company in 1977.
• Lea Oroz - is a contemporary dancer who graduated from The London Studio Centre. She is known for her experimental style, taking inspiration from ballet, freestyle and jazz. Inspiration is drawn from ‘Dancers Photographs’ - a collection of raw, yet stylized portraits taken by Annie
Leibovitz and published in 1992 for Smithsonian. The photographs document Mikhail Baryshnikov and other celebrated dancers over a period of ten years in a series of atmospheric black and white images, paying tribute to the athleticism and precision of the art of dance.
