A mesmerizing fusion of couture and dance
Experience the mesmerizing union of haute couture and ballet in the captivating photobook 'New York City Ballet: Choreography & Couture' Witness a decade of remarkable collaborations between the dance company and world-renowned fashion designers
Marc Happel used to flip through glossy fashion books and magazines, pondering whether he should have pursued a career in fashion instead of costume design. Ultimately, he found himself navigating both worlds.
In 2006, Happel became the director of costumes at the New York City Ballet (NYCB). This coincided with New York Fashion Week's move to Lincoln Center, which is also home to the NYCB. In 2010, NYCB's master-in-chief Peter Martins and "Sex and the City" actress Sarah Jessica Parker came up with the idea to have fashion designers create costumes for the Fall Fashion Gala, a star-studded annual fundraiser. Parker, a loyal NYCB patron, stated in the foreword of Happel's new book documenting the collaboration, "With so much creativity and experimentation right on our doorstep, we decided to harness it," and thus the regular invitation of high fashion designers into City Ballet was born.
Soul Train immortalized a vibrant era of Black culture and style. In 2012, Martins brought in old friend Valentino Garavani to design costumes for the inaugural Fall Fashion Gala. The retired Italian designer collaborated with Happel to create looks for three performances, including "Bal de Couture," a ballet choreographed by Martins as a tribute to Valentino.
Happel commented that working with Garavani was truly amazing. During the design process, Garavani would spend two hours every day at the ballet's costume shop, showing a great interest in the details. This experience inspired him to rekindle his passion and make use of his designer skills.
Happel (right) pictured with fashion designer Valentino Garavani in the New York City Ballet's costume studio amid preparations for the 2012 Fall Fashion Gala.
Paul Kolnik/Paul Kolnik
Under Valentino's guidance, Happel and his team created a wide range of costumes, from high-fashion gowns to elegant tutus, using luxurious materials such as tulle, lace, satin, crystals, and feathers. Since then, the ballet company has established a yearly tradition of collaborating with top fashion designers. Happel has partnered with over 30 renowned designers, including Virgil Abloh, Carolina Herrera, Thom Browne, and Prabal Gurung, to name a few. To mark the 10th anniversary of the gala and the 75th anniversary of the esteemed dance company, Happel has also authored a monograph titled "New York City Ballet: Choreography & Couture," celebrating the successful collaborations.
Valentino Garavani's designs for the NYCB's first-ever Fall Fashion Gala performance were a testament to his creative vision. In his book, Valentino praised Happel and his team for not only bringing his vision to life, but also for embracing the intricate techniques and details from his collections.
Pari Dukovic
Happel recalled Virgil Abloh's debut in costume design, noting the designer's eagerness to collaborate and learn from himself and the NYCB's choreographers for a 2017 performance of "Composer's Holiday." "He was very clear and straightforward. He proposed ideas, and we implemented them," Happel said.
"Giles Deacon is exceptional at crafting silhouettes, and he has a talent for blending historical silhouettes in a way that is truly remarkable," Happel praised. The image illustrates Deacon's exquisite feathered creations. "He effortlessly incorporates Renaissance elements into contemporary dress designs."
Pari Dukovic
Photographed a veiled gown designed by Gareth Pugh to capture the dramatic effect of its draping in motion. In the book, Pugh explained his efforts to incorporate elements of "brutalism" into the ballet world.
Happel explained that the negative spots on the skin are a result of hands grabbing the dancers around the waist, as designed by Humberto Leon for the NYCB's 2015 Gala. The intention was to accentuate those areas.
Pari Dukovic
Happel explained that Thom Browne's well-honed school uniform aesthetic for the ballet allows for the clothing to be movable. "The shirt is simply a dickie, the sweater is only a half sweater. They all snap together, becoming one."
A gown designed by Sarah Burton of Alexander McQueen, featuring lush floral embroidery and a delicate ombre color palette.
Pari Dukovic
Pari Dukovic remembered the designer Iris van Herpen sending her a personal handwritten letter in a manila envelope, along with humorous little sketches, describing the costumes. "So, it was really fascinating to work with her. The boots were a topic of debate, with some people hating them and others, like me, loving them."
An iconic collaboration between the worlds of high fashion and dance
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Fusing high fashion and dance
Happel spent two years refining his skills at the Minneapolis Guthrie Theater before venturing to New York in 1978. He seized an opportunity to work as a costume designer for the renowned choreographer Bob Fosse's "Dancin," a Broadway musical in need of staffing. From there, he gained valuable experience working on various other Broadway productions as a freelancer before taking on the role of managing men's costumes at New York's Metropolitan Opera House in 2001. With an 18-person team, Happel and his colleagues are responsible for updating and restoring costumes from the era of George Balanchine, the co-founder and artistic director of the New York City Ballet from 1948 until his passing 35 years later.
The poetic photo project combines high fashion and dance, focusing on recreating and rebuilding costumes to maintain their original freshness and beauty. According to Happel, the project aims to preserve the original look of the costumes by replacing worn out parts or rebuilding them entirely.
The costume department at the ballet creates or refurbishes between 40 and 150 costumes annually. Recently, the team has been dedicated to sewing costumes for the beloved holiday production "The Nutcracker," which will continue until December 31 this year.
Happel has mastered the art of sculpting a silhouette to perfectly suit a dancer's requirements. "During fittings, we have the dancers perform movements and steps from the choreography to ensure that the costume allows for proper movement and does not hinder the dancer in any way," he said. "We have a variety of techniques and tactics."
Ribbon fastenings and detailings are visible on colorful MarquesAlmeida designs for the 2015 Fall Fashion Gala.
In 2015, the NYCB partnered with London-based label MarquesAlmeida, and designers Marta Marques and Paulo Almeida initially designed garments with ties and fabric pieces attached. However, the embellishments kept wrapping around the dancers' arms and legs, restricting their movement, and had to be adjusted or removed.
"Marc truly listens and works closely with the dancers to ensure that we feel at ease and self-assured in our attire," explained Indiana Woodward, a principal dancer with the Ballet. "He excels at crafting stunning costumes that not only look beautiful but also make you feel beautiful when dancing in them. Whether it's a flowing skirt, you feel like you're floating, or that you can leap higher."
Setting the standard high
During the early years of the Fall Fashion Galas, Sarah Jessica Parker, who is now a vice chair of the NYCBs board of directors, was tasked with creating a list of potential collaborators. Happel has now taken over this role, and NYCB artistic director Jonathan Stafford praised his "uniquely critical eye."
Stafford added, "In addition to maintaining and preserving the company's current costumes, he also creates stunning designs of his own. He has collaborated with a remarkable list of designers over the years, consistently bringing their vision to life on our stage."
Fashion designer Giles Deacon (left) fits a dancer in a costume for a performance at the 2018 Fall Fashion Gala.
Erin Baiano
According to Happel, each designer who collaborated with the Ballet had their unique approach. Thom Browne, for example, was very hands-on and involved in the creative process, often challenging the workshop to create intricate details. On the other hand, Iris van Herpen sent hand-written sketches of her intricate, cut-out designs and Happel worked with an architectural firm to develop a custom computer program to streamline the construction process. This innovative approach saved a significant amount of time.
In 2016, the ballet collaborated with Dries Van Noten, and Happel traveled to Antwerp to meet the celebrated Belgian designer. "That was like heaven for me because suddenly being immersed in his world was incredible," he said. On the other hand, Happel never met, saw, or talked to Raf Simons during their collaboration on costumes for the 2022 Gala. Instead, the designer sent finished designs. "The clothes came in and we had to make quite a few adjustments because, although interesting, they concealed the body too much," he recalled.
While he may not be a traditional fashion designer, Happel has worked with the best. "When you have 10 years of events involving 30 world-class fashion designers, it's something that I felt needed to be recorded," said Happel of his work on the "Choreography & Couture" tome. "Through photography and sketches, which I thought were important for every designer, you give the audience a closer look at these costumes."
