Chiuri, who is the first woman to head up the iconic fashion house, reached out to Eyal, to create a live performance for nine dancers. The clothes themselves were full of tributes to dance, too, from the neutral and pastel color scheme to soft silhouettes (like long, tulle skirts that were reminiscent of romantic tutus). The collection also featured designs that were directly inspired by trailblazing women in dance like Loïe Fuller, Isadora Duncan and Martha Graham.
"Dance speaks about the body and freedom and fashion speaks about the same things," Chiuri told The Guardian. Eyal agreed, sharing in a backstage interview with Vogue Germany, "I love fashion, and I think it's all about the same thing [as dance]: To create a dream."
Of course, this isn't Chiuri's first foray into the dance world, as she designed costumes for Daniil Simkin's Guggenheim project,Falls the Shadow, just last fall. So it's really no surprise she knocked it out of the park (or the Longchamp Racecourse if you want to get technical) for her big spring/summer 2019 collection debut. Fashion designers and choreographers, take note. This is how you bring dance to the runway.
Devon Teuscher performing the titular role in Jane Eyre. Photo by Gene Schiavone, Courtesy ABT
Story ballets that debut during American Ballet Theatre's spring season at the Metropolitan Opera House are always the subject of much curiosity—and, sometimes, much debate. Cathy Marston's Jane Eyre was no different. The ballet follows the eponymous heroine of Charlotte Brönte's novel as she grows from a willful orphan to a self-possessed governess, charting her romance with the haughty Mr. Rochester and the social forces that threaten to tear them apart.
While the ballet was warmly received in the UK when Northern Ballet premiered it in 2016, its reception from New York City–based critics has been far less welcoming. A group of editors from Dance Magazine and two of our sister publications, Dance Spirit and Pointe, sat down to discuss our own reactions.