La peri Natasha Trouhanova as the Peri 1911

Curator: Here we have Léon Bakst’s costume design, “La Peri Natasha Trouhanova as the Peri,” created in 1911. Look at the vibrant detail! Editor: It's incredibly striking, almost otherworldly. The combination of textures and patterns creates a sense of opulence and, strangely, vulnerability in this figure. Curator: Bakst was known for his set and costume designs for the Ballets Russes, and this watercolor and pencil on paper piece embodies his innovative approach. He blurred boundaries by incorporating rich fabrics like silk and velvet into stage productions, a technique considered revolutionary then. Editor: Absolutely, and what interests me is how Trouhanova, as the "Peri," or Persian fairy, challenges orientalist tropes common at the time. Bakst subverts expectations. While drawing on the exoticism associated with the East, there is also agency here. The confident stance, the piercing gaze… she is not a passive object of desire, but a powerful, commanding figure. We might want to consider how the visibility of this character intersects with discussions about representation, performance, and gender within the ballet culture of the early 20th century. Curator: It's interesting to consider this through a feminist lens, for sure. Looking at his process, he really pushed the boundaries of acceptable theatrical design; not just mixing textures, but applying embellishments by his own hand; many scholars saw this labor as inherently revolutionary, blending "high" art with the 'craft' work of adornment that usually was delegated to artisans and dressmakers. Editor: It reminds us how intertwined art and performance were and continue to be. The costume *is* the art in many ways, especially when considering its impact on shaping perceptions and challenging established narratives. The details—the carefully chosen fabrics, the application of paint—everything works together to create a visual and emotional experience that has implications beyond the stage itself. Curator: By thinking about these designs as cultural commodities within this broader historical and material context, it opens avenues to a better appreciation of not only Bakst’s production means, but the cultural impacts on society, as well. Editor: It does, doesn’t it? And perhaps in recognizing those aspects, we see just how relevant it remains for our current social climate.