Paris: Women in the Follies

GEORGIA MUSEUM OF ART / THE UNIVERSITY OF GEORGIA / JANUARY 19 - MARCH 3, 1985

-l[- n" exuberarce and ga ety tnat charll acrerized lne JazzAgL were nowhere more evident than in the entertainment that lourished in the Paris music halls during the 1920s and 1930s, where the legendary revues or follies were staged. A single revue consisted of as many as sixty spectacular f

tableaux

or scenes, each animated

by

songs and dances. This exhibition features a selection of original sketches of revue costumes and stage sets, chosen from a group

of nearly seven thousand designs in the Department of Special Col ections of The University of Georgia L,b.aries.

The production of a major revue involved many people and the costume and set designers were of the greatest importance to the success of the show. The designer's role was both pivotal and exciting, and as early as the 1920s many set up studios in Paris and devoted themselves to music hall productions.

The amount of raw materials necessary for a single revue's costumes was astounding, easily including twenty to thirty million sequins and hundreds of miles of costly fabrics. During the course of a four-hour revue the star made six or seven costume changes, the cast about ten and choruses at least f ifteen.

The making of costumes began with the working drawings that were submitted to the producer. Frequently these early sketches were revised and then the artists and producer would search for appropriate fabrics and colors. After a decision was made. fab-

rrc

swatches were attached directly onto the

original designs (as with checklist nos. 80 and 91 ) and these sketches were sent to the set maker. At this point color choices for the costumes and sets were coordinated and

exposed

to

lights, and color distortions

(caused by stage lighting) were corrected.

Next, copies of the costume designs were

usually prepared on traclng paper (checklist no. 82) and distributed to seamstresses and other technicians who made the actual garments. Many of these intricate designs were annotated with detailed in-

structions and other information such as the name of the entertainer who would wear the costume. The majority of designs were painted with watercolor or gouache (opaque watercolor) and some were finished with silver and gold overlays.

During the era of the revues, costume and set designs were hardly considered works

of art, Originally these sketches were no more than blueprints. Today, however, the designs are collected and appreciated for their aesthetic and historical value.

a

The Paris music hall itself developed from

modest kind

of variety

known as "cafe concert " To

entertainment form their music

hall, the French borrowed ideas from English and continental cabarets and music halls, and added their own unmistakable Gallic flair. Unique to Paris, this new music hall-its stars, patrons and trappings reflected a world undergoing tremendous political, social and moral change, During the 1920s, Paris was at the forefront of these changes. Brillant, young artists and writers, and wealthy patrons flocked to Paris from all nations. They frequented low-life cafes and bars such as Le Chat Noir and La Rat Mort in

Montmarte as well as Le Moulin-Rouge, where Toulouse-Lautrec immortalized the decadent life of the can-can dancers and the earthy singers of the chanson realistic.

Other high-class music halls, places where one could eat, drink, and smoke while being entertained continually, were scon established and these competed fiercely with the earlier caf6s for clientele and performers.

The earliest music halls billed a variety of acts-trapeze high wire, ventriloquist, magician, juggling and equestrian-brut the

singers, dancers and comedians were always the major attractions. Many of the Paris music hall stars have become world-

popularity of the Paris music hall as well as

on the tastes and fashions of the day are now forgotten by the general public. Among these were Yvette Gullbert, Damia, La Belle Otero, Gaby Deslys and Little Tich the latter the comedian who inspired Charlie Chaplin's renown costume and routine. Following World War l, Chaplin rose to stardom.

then, ironically, a forgetful audience booed Little Tich from the stage for "imitating" him Without question, Mistinguett, "Queen of the Paris Night," was the Star of Stars. Miss, as she was affectionately called, dominated the Paris music hall scene throughout her sixty-year career, She was glamorous both on and off the stage. Mistinguett's costumes were legends of magnificent excess: yards of rich fur, feathers and jewels. Her head-

dresses challenged the standard, with many towering to five feet and weighing

fifteen pounds.

The designers Poiret and Ertd created some of Mistinguett's costumes, but her fa-

vorite designer was Gesmar,

a

young

genius who met an untimely death at age twenty-f ive. They would often collaborate on

the designs and Mistinguett herself would occasionally assist with the sewing. She also favored the designer Zig, a colorful

character who was once imprisoned

in

famous today: Charlie Chaplin, Marlene

France for "forgetting" to report for war ser-

Dietrich, Maurice Chevalier, Sophie Tucker and Josephine Baker. But many other enterzo tainers who had an enormous impact on the

vice.

Mistinguett actually discovered Maurice Chevalier and made him a star and her lead-

ing man, She also promoted and wooed him

off stage. Their tempestuous relationship ended when Chevalier insisted on having equal billing with Mistinguett.

Mistinguett's biggest rival for the paris music hall audience was a young, black American, Josephine Baker. The dynamic and uninhibited Josephine originally introduced Paris to the Charleston and, in effect, launched the Jazz Age. When Josephine arrived in Paris in 1925 as a minor performer in Le Revue Negrd, her costumes consisted of little more than a pink f lamingo feather or her most famous trademark, a belt of artificial bananas. As she evolved into her starring role, however, she replaced this primitive garb with elegant, sophisticated gowns and headdresses that rivaled Mistinguett's.

The two stars did, in fact, share some of the same designers: Zig, Alec Shanks, George Barbier, Ert6 and Josd de Zamora.

Josephine Baker, who scandalized or tanlalized, depending on the viewer's temperament, became a symbol of sensuality and freedom. Traveling throughout Europe, she caused riots and protests. Her activity excited such furor that she was banned by the Roman Catholic Church and severely criticized by the Nazis.

Many revue productions were written to showcase the personality and talents of the stars. Mlstinguett's Le Revue Miss is a prime example. As Maurice Chevalier had predicted, however, major stars became less important as nudity became more prevalent on stage, M.usic hall managers found it more economical to hire and replace anonymous nude choruses than to maintain major stars.

At this time, some of the stars made the transition to motion pictures, others adapted their talents to the legitmate stage, while others were doomed to failure.

Paul Derval, director

of the

loves, my country and Paris) by Josephine Baker.

The title, such as Paris Qui Jazz (Paris Jazzes), Le Revue Olympique and Un Soir de Folie (A Night of Folly), olten revealed the show's major theme. (Paul Derval insisted that all of his show titles have thirteen letters and include the word Folle. ) Usually a revue consisted of two or three acts and as many as sixty tableaux. This format allowed the inf inite variety and an enchanting contrast of ideas. ln Paris Qui Brille (Paris Dazzles), for instance, Ben Hur's chariot race was folIowed by a snowstorm, then by a Roman orgy on a revolving stage-scenes conceived as pretexts for extravagance and dramatic stage effects. Sets often included dogs and horses, along with an occasional

farm or jungle animal, each adding

a

one thousand to twelve hundred costumes and twenty to thirty sets, The principal supplier of these costumes and, indeed, the premiere costumier of the Paris music hall was Max Weldy, until he emigrated to the United States in 1938 ln his studio located next door to the Folies-Bergdre Music Hall, Weldy employed nearly three hundred people including dressmakers, tailors, hatters, jewelers, shoemakers and wigmakers.

Scores of costume and set designers were

commissioned by Weldy to animate the concepts envisioned by the authors and producers of the revues.

Weldy recruited the very best international designers: JosS de Zamora, Spain; Paul Seltenhammer, Sweden; Ladislas Czettel and Michal Gyarmathy, Hungary; George Barbier, France; Freddy Wittop, Netherlands; Alec Shanks and Hugh Willoughby, Great Britain; and Brunelleschi, Italy, The most widely recognized name in

Weldy's entourage, however, is the Russian-born Romain de Tirtoff, who deslgned under the name Ert6.

Ert6 was responsible for two significant innovations in the costume and decor of the music hall: the coslume collectif , which was

an enormous single garment worn by

a

group of figures (checklist no. 53); and the rideaux vlzant (checklist nos. 5 and 7), or

living curtain,

in which human

f

igures

formed the curtain.

Ert6's theatrical flair and sense of color and line made his designs favorites with

producers, stars and audiences alike, especially those of the Folies-Bergdre 63

Folies-

Bergdre Music Hall from l91B until his death in 1966 had a simple formula for a success{ul revue; "give them something to dream about and something to laugh at." He might also have added "give them something to hum," for music played an integral part in popularizing a revue. Each offered numerous clever and sentimental songs to the public, hoping that at least one tune would become a hit of international magnitude.

Regardless of the pressure to present new music, major stars often repeated their signature songs whenever they appeared.

There was "Mon Homme" (My Man) by Mistinguett; "Valentin" by Chevalier; and "J'ai deux amours, mon pays et Paris" (l have two

plemented them, emphasized the exotic and erotic, A typical revue of the 1920s required from

strange touch of reality in an otherwise fan-

tastic situation.

To enthrall the public, elaborate stage mechanisms were devised, as in the show En Douce (Slipping Away), which featured a

glass tank f illed with over 100,000 gallons of water that rose from the orchestra pit. The

sensational finale consisted of the entire cast, Mistinguett included, diving into the

Music Hall. He was able to exert, as so few other designers were, a profound influence on the direction of both theatrical costume and fashion, particularly during the years he illustrated the covers tor Harper's Bazaar magazine.

The costumes required by certain of the tableaux were fairly standard; themes oc-

casionally included the seven deadly sins

no. 72), the four seasons (checklist no. 48), the hours in a day, f lowers in a bouquet and jewels (checklist nos. 76 (checklist

water,

and 79). Nevertheless, as the follies

Tableaux themes, seemingly limited only by the imaginations of the artistic director and his colleagues, ranged from historical, mythical, melodramatic and comical to anthropomorphic and futuristic. Above all, the tableaux, like the costumes that com-

came more sophisticated, the designers

be-

became more daring and imaginative. The costumes more closely resembled actual objects such as ships (checklist no, 50),

typewriters (checklist no. 37), flagpoles (checklist no. 11), playing cards (checklist

this exhibition were chosen to present both

famous and lesser known designers, to highlight lavish costume and theater designs and, especially, to bring to life some of the most dazzling women of the follies. Acquired in 1968, The University of Georgia collection is one of the finest theatrical re-

sources in the United States. Today the Paris music hall remains relatively undocumented and for scholars and students alike there is still much to discover about this unique Jazz Age spectacle.

-Mary Guest

Ellen Brooks Curator

Exhibition organized by Linda Steigleder. Photography by Jim Morgenthaler and Michael McKelvey.

no. 96), foods, coins and cocktail ingredients. Serpents and birds were favorites of all the designers. Yet, no one tried to duplicate Erte's elaborate rivers-the Amazon, the Rhine and the Nile.

The 1930s brought a trend toward the avant-garde, seen with artists such'as Seltenhammer, whose representations heavily suggested sadomasochism and transvestism. Most of the designs, however, were characterized by humor and wit. Surprisingly, historical accuracy in costuming was of utmost importance to the producers of a revue that might include characters such as

the ever-popular Napoleon or Casanova.

Although no American designers influenced the French music hall scene in the 1920s and .1930s, several designers affected the styles of American costume. Ert6 designed for the George White Scanda/s and Ziegfeld's Fol/les as well as for Cecil B. DeMille's film Fest/ess Sex. Montedoro replaced Vincente Minelli as chief costume designer for Radio City Music Hall. Freddy Wittop created costumes for numerous

Broadway shows including

the

Tony-

winning Hello Dolly; in addition, he has designed for ice shows such as Holiday on lce and the lce Capades. Ladislas Czettel designed for the Metropolitan Opera Company for three seasons (1940-42) and Max Weldy fashioned costumes for both human

and animal performers in the

Ringling

Brothers' Barnum and Bailey Circus.

The one hundred sketches featured

in

14. Variegated green one-shoulder gown with silver ribbon trim and flowing train for

CIF-{IECIKILIISIT

chorus girls. "Concurrence.'' Green Night Club.

Each design is gouache on paper; a few works include silver and gold overlays.

29. Pink-ribboned chemise, pantaloons and top hat. "Tivoli Gardens: Paris in Napoleon's Time," Hearts in Folly. FoliesBergdre Music Hall, 1924.

15. Blue tu{u for ballet chorus with oversized neck ruffle and full length gloves, all

30. Ornate panniered orange brocade gown with blue and white feather trim. "On the Step of the Orangerie of Versailles," Folly of

trimmed with silver ribbon. "Concurrence."

Blue Night Club.

the Day. Folies-Bergdre Music Hall, 192627

16. Mauve bathing suit with silver wave motif, transparent cover-up with gold starfish

ERTE (Romain de Tirtoff) Russia.r. born 1892

applique, and sunhat. "Openino."

Silver tasseled gown and headdress with arms attached to stage curtain. "Tableaux of Weddings: Wedding of Love," A Breeze of Folly. Folies-Bergdre Music Hall, 1927.

Silver-reeded gown and helmet with detail of stage curtain. "Tableaux of Weddings:

Silver

Weddin

9," A Breeze of

3. Gold cloak and swag of stage

curtain.

"Tableaux of Weddings: Goiden Wedding," A Breeze of Folly. Folies-Bergdre Music

Hall, 1927.

4. Gold skirt and filigree girdle with detail of stage curtain. "Tableaux of Weddings: Golden Wedding," A Breeze of Folly.

Folies-Bergdre Music Hall, 1927.

(see no. 4) with full stage curtain. "Tableaux of Weddings: Golden Wedding," Breeze of Folly. Folies-

A

Bergdre Music Hall, 1927.

18. Blue tunic wjth heart-shaped cut-out and oversized ribbron sleeves, single leg in tights, and headdress with plume, "The Jack ol Hearts,' 1935.

JEAN LE SEYEAUX French

32. Wire-mesh hooped skirt and bodice with plumed headdress, ca. 1923.

19. Tiered and ruff led gown with black, orange

and yellow polka dots on white back-

headdress

7. Silver costumes (see no. 6) with full stage curlain. "Tableaux of Weddings: Diamond Wedding," A Breeze of Folly. 1927.

8. Beaded silver costume and headdress incorporating two other f igures, all attached to stage set. "Tableaux of Weddings: Diamond Wedding," A Breeze of Folly, 1927 Gold skirt and halter with wings and matching headdress trimmed in laurel leaves.

Peace.

10. Gold trumpeter tunic with British f lag torso, laced gladiator sandles trimmed in laurel leaves, and helmet. Peace.

11. Gold maillot trimmed in laurel leaves with matching laurel wreath headdress and arms covered with full length British flags.

"Rule Britannia," Peace.

12. Silver and white f lared ball gown wilh beaded appliqud, "Colors: The White Dress," 935.

33.

ground, 1935.

Pink hoop skirt and vest with epaulets and

wings, cap and gloves, ca. 1923.

34. Pink and turquoise latticed tunic and cap for court lester, ca. 1 923.

GEORGE BARBIER French, 1BB2-1932

20. Gold, black and silver appliqued caftan with beaded headdress. "Crystal Caves," ln Full Folly. Folies-Bergdre Music Hall,

LADISLAS CZETTEL Hungarian, ca. 1899-1949

35. Black gown with multicolored birds and

21. Gold, black and silver tu{u with beaded helmet. "Crystal Caves," ln Full Folly.

Folies-Bergdre Music Hall, 1923.

with detail of stage curtain. "Tableaux of Weddings: Diamond Wedding," A Breeze of Folly, 1927

1

and shield. "Greek Warrior," Suite d'Aze's.

1923.

5. Gold costumes

9.

"Change," Folly of the Day. Folies-Bergdre Music Hall, 1926-27.

7. Greek soldier's tunic with helmet, cat mask

Folly.

Folies-Bergdre Music Hall, 1927.

6. Silver-beaded long skirt and

1

31. Blue panniered gown with pink ruff les and elaborate pink wig topped by a ship.

headdress. "Beautiful Dancers," ca. 1928.

36. Black skirt with gold palm trees and white elephants and multicolored plumed headdress extending to cover arms, ca. 1928.

22. Gold, black and silver panniered gown with tassels and elaborate wig. "Crystal

37. Grey dress with typewriter keys for skirt

Caves," ln Full Folly. Folies-Bergdre lVusic

and large black bow headdress, ca. 1928.

Hall, 1923.

23. Nude with beaded headdress, train and Oriental platform shoes. "Crystal Caves," Folly. Folies-Bergdre Music Hall,

ln Full 1923.

38.

Vest, orange and black tasseled cape and hat for matador, ca. 1928.

39. Two views of blue and gold Spanish gown with red sash, ca. 1928.

24. Gold-beaded flowing train carried by four attendants with crown designed for Suzy Beryl. "Crystal Caves: The Diamond," /n Full Folly Folies-Bergdre Music Hall, 1923. lDesign is incorrectly dated.l

25. Silver-beaded garment with tassels, hip fins and headpiece designed for Lydia Johnson. "Crystal Caves," ln Full

Folly.

Folies-Bergdre Music Hall, 1923.

JOSE DE ZAIVORA

Spanish, born ca. IBgl

40. Black plumed costume with pantaloons and headdress. "The Dorking Chicken," 1922.

41. Winged cape, tunic and headdress. "The Queen Bee," The Grand Folly, 1928.

26. Silver-beaded gown with towering headpiece and beaded wire capelet. /n Ful/ Foily. Folies-Bergdre Music Hall, 1923.

27. Blue Egyptian short skirt, collarette and beaded blue wig. "The Nile Legend,"

42. Winged short dress and helmet with eyes and antennae. "The Bee," The Grand Folly, 1928.

43. Short dress with turquoise feathers, straw hat and cane. "The Modern Dancer."

Hearts in Fol/y. Folies-Bergdre Music Hall, 1924.

28. Pearl and sequin suspenders and shorts

ALEC SHANKS British, born 1910

with orange feathers for Josephine Baker,

13. Silver waltzing gown with large shoulder bow, 1935.

"The Same in 1927," A Breeze of Folies-Bergdre Music Hall, 1927.

Folly.

44. Jeweled maillot with garter and headdress of aqua feathers. "The Star," 1931.

45

Pink and silver peacock outf it. "Feathers," 1

930.

64. Black and silver plumed and hooded tu{u with bottles of mineral water. "Vichy State."

46. Pink and black plumed headdress and skirt. "Feathers," 1 930.

66. Silver

tutu with green ruffle trim and

86. Stage curtain with gold and blue sunburst.

"The Sun of 1928,"

hat.

ers," 1930.

48. Blue cape with swallows. "Spring."

67. Costume of intertwined blue serpents biting apples. "The Blue Serpent."

49. Brooklyn Bridge (prop) with over-skirt of

6B

red and white stripes with stars for headdress, 1932.

50. Tower of London Bridge (prop) with waterway over-skirt of gradated blue and green and ocean liner costume with billow-

ing smoke headdress, 1932.

Red lobster-shell cape, pincers and red thigh length stockings. "The Lobster."

69 Pink pigeon su!t. "Cleopatra."

51. Black and red stage curtain witf, jazz musicians and skyscrapers.

Orange and silver sunburst stage curtain with plumed chorus, "The Chariot of the Sun,"

fhe Great Folly, 1928.

Blue and black parti-colored jump suit with

electric rays emanating f rom

hooded

headdress, hands, and feet.

89. Blue and fushia leotard and top hat for baton girl, with black floor-length cape lined in gold.

'Antoine."

British, born 1891 of the

72. Snake dress with red piumed headdress.

Caterpillar."

"Envy," 1920.

73. Black butterfly gown and cap with anten-

FREDDY WITTOP (Fred Wittop Koning)

Dutch, active 1 931 -present

nae, 1921-29.

54. Pink gown with petal train and flowered

74. Multicolored butterfly suit with antennae,

stole designed for Mistinguett. "Garden of Flowers."

55. Purple and white cape and visor. "Nudes."

56. Blue gown and plumed headpiece designed for Cinda Glenn. "Women and Gigolos, 1934.

57. BIack and silver sequined tu{u with

for

ruff led

ca.1921-29.

75. Blue butterfly suit with antennae, ca.

1921-29.

58, White chiffon dancing gown. "Maurice Chevalier and His Parade of Love: Parody of Joan Crawford," Follies in Folly. Folies-

76. Orange gown with cape and oversized hat. "The Agate."

77. Orange and purple jockey suit with hobby

ugly-

95. Stage curtain with man in tuxedo and top hat and two women against deep blue cityscape. "The Paris Nights."

horse. "Clrcus."

PAUL SELTENHAMMER

78. Pony girl and charioteer. "Racing."

Swedish, active 1929-35

96. Two versions of girl with dark hose and .1931.

ZIG French, active 1928-31

garters wearing playing cards,

60. Gold and black metallic futuristic suit with

80. Trousers, shirt and scarf with fabric

62. Bird and tiger choruses. "Birds in a Tropical Forest" and 'A Flight in the Forest."

93. Gown of mauve flowers on a green back-

Miss").

79. Jewel-studded spider web outf it. "fopaz;'

Red and yellow plumed outf it designed for Josephine Baker or her chorus, 1934.

92. Transparent cape edged with green jewels

(annotated by Mistinguett, "Very

Parade of Love: Parody of Joan Crawford," Follies in Fol/y. Folies-Bergdre Music Hall, 1 934.

headpiece. "Garden of Metal."

DANY BARRY French, active 1930-37

94. Gold-beaded tu{u, train and headpiece

Bergdre Music Hall, 1934.

59. Black strapless gown with red cape and gloves. "Maurice Chevalier and His

elephants.

ground with fox fur collar and muffs.

CEDRIC WHITE British

Helen

91. Stage curtain with smiling trio emerging from jack-in-a-box f lanked by blue

over jeweled briefs and leggings.

Troutofska or her chorus.

.

EDOUARD HALOUZE French

HUGH WILLOUGHBY

53. Collective costume. "Transformation

6.1

huge drop jewel earrings.

90. Man in form{itting grey and black tuxedo

52. Blue stage curtain with bird's-eye view of

chiffon parasol designed

87. Pink stage curtain with flapper wearing

88.

70 White sheer gown with leopard skin trim and leweled headdress. "Cleopatra," 71

grand piano.

with silver lace collar and stick{igure prop.

"Jester of Henry lll."

65. Pink rose-petal dress with rosebud wig.

"Rose of Orsay."

47. Silver fur gown, hat and muffler. "Feath-

85. Variegated blue ruffled court jester suit

Folies-Bergdre Music Hall.

97. Nude

with full length bat wings attached at wrists and neck and headdress of jeweled

bat ears, 1931.

swatches.

LOUIS CURTI French, active 1929-35

B1

Red velvet cape with silver lamd trim.

82

Copy of red evening cape on tracing paper (see no. 81).

98. Barefooted girl

in orange and yellow dress

with handkerchief hem and tambourine.

"The Gypsies."

83. Pink and green strutter's suit with spats,

garters, and parasol designed

RANSON

for

Josephine Baker.

99. Black gown with train and green plumed stole and hooded cap and mask. "Vamp."

French, active 1926-30

63. Blue moon-and-star pants and tiered blue train with plumed crescent headdress,

84. Green plumed tu{u and headdress designed for Tosch Twins. Moulin Rouge Music Hall.

100. Red, white and black bolero suit with hat, gloves and wl'rip designed for Nina Rosa.

"The Gauchos."

UPD 3339/9-84