Costumes for the Strauss Dance Suite

Man’s Costume

Mark’s evening tailcoat has a very different look than those of more recent times, being patterned from mid 19th century examples that are constructed on quite different principles, especially with regard to the sleeves. While modern sleeves are made as tubes, on straight lines, and look pressed while being held to the man’s sides, the sleeves of the man’s mid to late 19th century tailcoat are constructed on an arc, with curved seams, ideal for giving an unwrinkled appearance while the man’s arms are held out in the partner support position appropriate to dancing waltzes and polkas at formal balls. The fabric is high quality wool and the collar displays black satin on the collar reverse. A brocade pattern silver and black satin waistcoat with pearl and silver buttons is worn beneath the tailcoat, with a white formal pleated shirt fastened with silver and pearl studs and white stock tied round the neck beneath that. A silk top hat with slightly curved brim, elegant pewter headed walking stick, and impeccable white gloves complete Mark’s evening ensemble.

Woman’s Costume

The early 1870s was a time of transition in women’s gowns: skirt and top were still usually separate pieces joined together by hooks and tabs: Djana’s gown has the snug-fitting, boned and fan-pleated bodice typical of the time that descends to a point overlapping the skirt front. The skirt is very full, but not in an evenly round shape. In this transition period, the shape of women’s skirts had become an ellipse, with a slight flattening in front and more fabric behind that increased in fullness and length until wide trains were being worn. A crinoline was mandatory to achieving the desired shape; Djana’s has more than 50 yards of black netting. The skirt itself has over 16 yards of material; the top layer of fabric is split in an inverted v in the center beneath the bodice point to show the underskirt fabric; the overskirt is also caught up with satin roses around the sides and back to reveal the layer beneath.

A note regarding ballgowns and social proprieties concerning ballgowns. As the 19th century progressed and women’s ballgowns became fuller, evolving into the wide trains that became fashionable in the ‘60s, etiquette books cautioned men as to the necessity of being aware at all times of ladies’ trains and to never ever step on them or assist a partner in holding hers up, while at the same time women were admonished not to wear gowns so long they would drag on the floor with the possible result of torn flounces or tripping of other dancers.

Djana’s costume is completed by her color matched, spangled Battenburg lace fan, an essential ball room accessory for ladies of the time, and dyed to match three-quarter length gloves, hand sewn with beads and fancy trim around the top, a common decoration for evening gloves of the period. On her entrance with Mark she wears a satin shawl edged with heavy gold fringe and carries a small satin bead-fringed reticule.

Construction of the Costumes

Djana has been researching folk and period motifs, fabrics and costumes from the beginning of her dance career. She designed the contemporary and period costumes for Zwei Alpentänzer and Due Ballerini, and the dirndls, lederhosen and vests for die Alpentanzgruppe as well. Though the previous costumes she designed were frequently complex, Djana admits melding all the style elements and fabrics into a convincing late 1860s formal ballgown has been the most challenging costume design project of her career.

In the past, the task of turning Djana’s frequently elaborate ideas into reality has fallen to Mark. Mark began sewing costumes in his teens, when he belonged to the Society for Creative Anachronism, constructing first a five-sided cabin tent, then various outfits including a medieval German costume with sack sleeves and cockscomb edging on both sleeves and hat. With Djana as tailor assistant (fabric prep, bias making, shirring, finishing work), Mark created patterns, then sewed the dirndls Djana used in Zwei Alpentänzer, two sets of period costumes for their Italian duo act, and the reproductions of 1890’s period tracht that Mark and Djana use in Zwei Alpentänzer’s Austrian monarchy programs. As well, Mark made patterns for and sewed 10 dirndls, each with blouse, apron, and petticoat, for women members of die Alpentanzgruppe, and 9 pair of men’s lederhosen for group members.

Because of the complexity of the period costumes, Mark & Djana decided to have a professional do the tailoring of the woman’s ballgown, and man’s waistcoat and evening coat. Renate Gehrig, who tailored the men’s vests for die Alpentanzgruppe and Mark’s tracht jacket to Djana’s designs, took on the long, involved task of making the costumes. Djana supplied the research and design for the man’s coats and woman’s ball gown; Mark’s years of tailoring experience enabled him to assist Renate in the complex engineering of the two piece gown to make it suitable for active dance – quite a different matter than creating a dress that will only be used for a period fashion show.

The garments are constructed to the highest standards of historical accuracy, with the patterns created and types of fabric, trim and decorative elements chosen that would have been in use at the time. The dancers are constrained by the weight and flow of the fabric in these garments to move in very different ways than they would move in modern clothing. The dances themselves are choreographed to reflect the requirements set up by the garments being worn. Without Renate’s contribution of endless patience and meticulous expertise, the Strauss Suite could not have ‘come to life’ with such a successful and absolute integration of costumes to the dances being presented.

It took Renate, Mark and Djana nine months of weekly and bi-weekly planning and fitting sessions to pattern and construct the costumes. At the conclusion of this challenging job, one of the longest of her career, with the costumes at last complete in all their glory, Mark & Djana presented Renate with an enormous bouquet of garnet flowers, champagne, and their endless gratitude.
 

Characteristic Evening Dress, 1860-1870