The Tutu Project

Italian Ballerina from Gala Performance – First Performed November 18, 1953. Designed by Kay Ambrose. 

This tutu was worn by Lois Smith, Canada’s first Prima Ballerina, who danced 17 seasons with the company and became its first star, performing nearly all the lead roles in the National Ballet’s repertoire.  Anthony Tudor’s Gala Performance is a one-act parody of traditional ballet conventions showcasing the preparations for a gala and the performance itself at which three rival ballerinas compete for the audience’s approval. The production is more of an amusing theatrical piece rather than a truly balletic production and the costumes designed by Kay Ambrose after the original 1938 English version emphasize the parody with their over-the-top designs and grand decorations.

In 1954, Gala Performance was the first National Ballet of Canada production to be filmed by the CBC alongside the Pas de Trois from Swan Lake. This historic event marked a long relationship between the National Ballet and the CBC.  Televised performances allowed a wider audience exposure to ballet while the young company was establishing itself as a national institution in a geographically vast country.

Kitri, Act III from Don Quixote – First Performed November 6, 1985. Designed by Desmond Heeley.  

The role of the spirited Kitri has been performed by some of the National Ballet’s most illustrious ballerinas including Karen Kain, Gizella Witkowsky and Sonia Rodriguez.  A stylized adaptation of historical Spanish dress, this tutu has been interpreted to better reveal the dancer’s footwork, as with all classical tutus. Nicholas Beriozoff’s Don Quixote has become a favourite production for many in the company thanks to Former Artistic Director Erik Bruhn. Bruhn, who had an excellent international reputation when he was a dancer, is credited with successfully procuring Beriozoff’s choreography for the company in 1985.

The designs for Don Quixote are by celebrated international stage designer Desmond Heeley, most famous for his talent of creating wondrous, vibrant environments with the absence of obvious colour. Don Quixote’s sets and costumes are steeped in Iberian ambiance which exudes fantasy and accentuates the storybook nature of the ballet.  The bold red of this tutu puts Kitri clearly in the forefront of the dance drama of her wedding, depicted in the final Act.

Princess Aurora, Act III from The Sleeping Beauty - First Performed September 1, 1972. Designed by Nicholas Georgiadis. 

This design has been worn by some of the National Ballet’s most distinguished dancers including Veronica Tennant, Nadia Potts, Vanessa Harwood, Karen Kain and Chan Hon Goh. Choreographed by Rudolf Nureyev, The Sleeping Beauty features opulent designs by Nicholas Georgiadis. Georgiadis designed for a number of ballets, operas and theatres all over the world and is best known for his sumptuous period settings. The gold and silver encrusted sets and costumes for the National Ballet’s The The Sleeping Beauty reflect both the opulence of the 1890’s Imperial Russian Court, and the majesty of the court of Louis XIV.

Spring Fairy, Act I from Cinderella - First Performed April 16, 1968. Designed by Jürgen Rose. 

Featuring some of the most unique costume designs found within the National Ballet’s repertoire, this tutu was worn by long-time Principal Dancer Mary Jago. Premiering in 1968, the National Ballet’s Cinderella was the first production of Cinderella in North America. Sadly, it was only performed a handful of times before a fire in the National Ballet’s wardrobe destroyed many of the costumes. This tutu was luckily spared and represents one of only a few original costumes from this production held in the National Ballet’s Archives.

Odile from Swan Lake - First Performed January 19, 1955. Designed by Kay Ambrose. 

This important role has been performed by many leading National Ballet dancers, including Lois Smith, Irene Apiné and Angela Leigh, who were influential in the formative years of the company.  The dual character of Odette/Odile, considered the test of a ‘true ballerina’, has always been considered one of the most psychologically and technically arduous roles in the classical ballet canon.  Originally a black tutu with the sequined and gold details pictured here, the base of the bodice and skirt have faded to variegated shades of blue and purple after years of wearing, cleaning and aging. 

Odile from Swan Lake - First Performed May 5, 1999. Designed by Santo Loquasto. 

This tutu has been worn by many artists who have mastered the dual role of Odette/Odile including Chan Hon Goh, Jennifer Fournier and Greta Hodgkinson who created the role. Former National Ballet Artistic Director James Kudelka’s Swan Lake features dynamic choreography which heightens the tension between the natural and the supernatural. This production restores the ballet to its full mythic power and traditional storyline while adapting it for a contemporary audience.

The Snow Queen from The Nutcracker - First Performed December 26, 1964. Designed by Jürgen Rose. 

This costume is one of the most frequently worn in the history of the National Ballet.  The Nutcracker’s status as a perennial holiday favourite meant that nearly every female Principal Dancer with the National Ballet between 1964 and 1994 danced the role of the Snow Queen, including Lois Smith, Veronica Tennant and Nadia Potts, who danced the role while still a member of the Corps de Ballet.

The National Ballet of Canada premiered its famed production of The Nutcracker shortly after debuting at Toronto’s O’Keefe Centre (now the Sony Centre for the Performing Arts).  It featured choreography by Founder Celia Franca after Marius Petipa and designs by internationally acclaimed stage designer Jürgen Rose. Rose’s designs incorporated the motif of multi-faceted diamonds and gemstones, a symbol for crystalline snowflakes and a reminder of the shimmer of the Christmas season. When this production first premiered it was the most expensive theatrical production in Canada, costing approximately $100,000, however the investment was worthwhile as it dazzled audiences for over 30 years.

The Sugar Plum Fairy from The Nutcracker - First Performed December 21, 1995. Designed by Santo Loquasto. 

This design has been worn by all of the company’s Principal Dancers since its debut including Martine Lamy who created the role, Sonia Rodriguez and Heather Ogden who made her debut while she was still in the Corps de Ballet. After a run of 30 years, Celia Franca’s beloved production was replaced in 1995 by James Kudelka’s The Nutcracker. The new production ushered in James Kudelka’s era as Artistic Director, during which he re-thought many of the standards in the company’s repertoire, including The Nutcracker. 

The Nutcracker was a collaboration with world-renowned designer Santo Loquasto who has designed, in addition to ballet, over 60 Broadway productions and more than 40 films.  Loquasto assisted Kudelka in transposing the ballet from its traditional 1880’s German setting to rural Russia in the 1830’s creating an air of opulence associated with the Imperial Russian Court.  For her entrance, The Sugar Plum Fairy appears from within a giant Fabergé egg dressed in layers of candyfloss pink and glittering gold brocade, evoking a childhood jewellery box ballerina.

Sylph from Les Sylphides - First performed November 12, 1951. 

This production holds a special place in the company’s history as Les Sylphides was part of the company’s first-ever performance. Staged by the company’s founding Artistic Director Celia Franca with choreography by Michel Fokine and designs by James Pape, The National Ballet of Canada premiered Les Sylphides at Toronto’s Eaton Auditorium. At the time, the National Ballet was newly formed and had been rehearsing together only a brief few weeks. The lead role of a Sylph would have been danced by many of the National Ballet’s earliest members, ranging from Corps de Ballet members to Principal Dancers.

Les Sylphides is a mood ballet, or what is called a “ballet blanc”, which uses the ethereal image of the sylph to suggest a dream or fantasy world. Traditionally set in a woodland landscape, the National Ballet’s early Les Sylphides scenery featured a dappling of snow intended to make the production more “Canadian”. This costume is a typical romantic tutu that is free flowing and emphasizes the lightness of the dancer as she portrays one of several metaphysical muses to the lone male Poet character in the production.

Wilis from Giselle - First Performed April 16, 1970. Designed by Desmond Heeley. 

As dancers typically get their start as Wilis in the Corps de Ballet, this tutu has been worn by many dancers with the National Ballet, even those who have gone on to become Principal Dancers. Two celebrated artists who have had the lengthiest careers in the history of the National Ballet are Lorna Geddes, who joined the company in 1959 and remains with the company today as Principal Character Artist, and Victoria Bertram, who joined the company in 1963 and danced for 47 years with the company, concluding her career as Principal Character Artist in 2010.

The National Ballet of Canada’s production of Giselle was choreographed by Sir Peter Wright and features designs by Desmond Heeley. Heeley is one of the most sought-after international stage designers, having designed for many major opera, theatre and ballet companies. The décor and costumes for the National Ballet’s production of Giselle exemplifies the intensely atmospheric settings that Heeley is known for. For many, Giselle is the quintessential Romantic ballet and while the title role has been called the ballerina’s Hamlet, the Corps members play an important role in the ballet, most notably in Act II. Following Giselle’s tragic demise she joins the Wilis, spirits of betrothed young women who after being betrayed by their lovers, die from grief. They wear disintegrating Victorian style wedding gowns trimmed with dying roses which have been soiled from years of haunting their woodland home.

The Firebird from The Firebird - First Performed November 10, 2000. Designed by Santo Loquasto. 

This tutu has been worn by Jennifer Fournier and Greta Hodgkinson, two of The National Ballet of Canada’s recent Principal Dancers.  Based on the Russian folk tale of the same name, The Firebird was a co-production with Houston Ballet and was choreographed by former National Ballet Artistic Director James Kudelka. The myth about Prince Ivan, the Firebird, the enchanted garden and grotesque attendant monsters of Kastchei the Deathless and his imprisoned princesses was the next in a series of collaborations between Kudelka and designer Santo Loquasto. The mythical landscape was inspired by the ancient civilizations of South America and featured lush golds and greens to create a glistening tropical paradise.  Ruins of Mayan statues were the inspiration for the elaborate headdresses while the elaborate face masks and colourful body paintings suggest traditional Incan cultures.

Swanilda from Coppélia - First performed October 22, 1952. Designed by Kay Ambrose. 

The National Ballet of Canada’s Archives holds only one tutu worn by National Ballet Founder Celia Franca in its costume collection. Franca was the firebrand that turned the fledgling dance troupe into an internationally celebrated company, performing as a Principal Dancer with the company from its inception until her retirement from the stage in 1959, and leading the company as Artistic Director until 1976. Franca choreographed many of the early productions herself based on the versions she had danced with Sadler's Wells Ballet in England prior to her arrival in Canada. Her impeccable memory for footwork saved the company from expensive choreographer’s fees for which there certainly was no budget. Celia Franca was undoubtedly the heart and soul of The National Ballet of Canada for many years.

Coppélia was one of The National Ballet of Canada’s most popular productions for over a decade and is set in a small storybook-like Bavarian village.  The character of Swanilda is a mischievous young peasant girl who leads her friends on an adventure through Dr. Coppelius’ toy workshop. While we cannot be certain, this tutu was likely designed by Kay Ambrose, a prolific designer who worked with the company from 1952 to 1962 and designed many of the company’s early productions.

The Actress Romantic Tutu from The Actress - First Performed February 16, 1994. Designed by Santo Loquasto. 

This tutu was worn by Karen Kain, former Principal Dancer and now Artistic Director of the National Ballet. The Actress was inspired by and created for Karen Kain in honour of her 25^th Anniversary with the company. Kain was one of the National Ballet’s most internationally acclaimed and beloved dancers. She earned a reputation for excellence beginning in 1973 with the Moscow International Ballet Competition at which she and Frank Augustyn danced the Bluebird Pas de Deux from The Sleeping Beauty. The accomplished couple were christened “the gold dust twins” for their spectacular performance. Kain retired from the stage in 1997 and chose The Actress as the piece for her Canada-wide farewell tour. She remained with the company as Artist-in-Residence and Artistic Advisor until 2005 when she assumed her present role as Artistic Director.

Choreographed by former Artistic Director James Kudelka, The Actress examines the bewildering interplay of role and reality in the life of a great ballerina.  The production features set and costume designs by Santo Loquasto, a world-renowned designer whose work has been featured in Broadway productions, cinema and dance. Loquasto’s vision for The Actress evokes the peculiar combination of elegance and the musty history of an old-world opera house with the costumes conjuring at once Edgar Degas, Giorgio Armani and simple rehearsal wear. As in the ballet, the design explores the boundaries between performance space and backstage life which continuously merge and dissolve.

Reaffirm - Official Canada Day Celebrations. Created by participants at the Official Canada Day Celebrations in Ottawa, July 2011. 

The Reaffirm tutu is an original creation designed by the festival participants of the 2011 Official Canada Day Celebrations in Ottawa, ON. In conjunction with the National Capital Commission’s Reaffirmation Ceremony during which participants were invited to declare their love for Canada, guests likewise expressed their patriotic sentiments by creating a miniature coat of arms. Each piece has been attached to a tutu covered in hundreds of silk maple leaves. 

The Official Canada Day Celebrations are facilitated annually by the National Capital Commission. The NCC-CCN is a Crown corporation of the Government of Canada. Their goal is to ensure that Canada’s Capital Region is a source of national pride and significance.

Rewind - Official Canada Day Celebrations. Created by participants at the Official Canada Day Celebrations in Ottawa, July 2011. 

The Rewind tutu is an original creation designed by the festival participants of the 2011 Official Canada Day Celebrations in Ottawa, ON. Guests shared their excitement about the National Ballet’s new repertoire and the Royal Visit by creating over 900 pocket watches, reminiscent of the one belonging to the White Rabbit who graced the stage with the National Ballet in London, England 24 years ago in Alice and our North American Premiere of Alice’s Adventures in Wonderland on June 4, 2011. 

The Official Canada Day Celebrations are facilitated annually by the National Capital Commission. The NCC-CCN is a Crown corporation of the Government of Canada. Their goal is to ensure that Canada’s Capital Region is a source of national pride and significance.

Proud as a Peacock - Pride Toronto. Created by participants at Pride July 2011. 

The Proud as a Peacock tutu is an original creation designed by the festival participants of Pride Toronto 2011. Over 800 guests stopped by The National Ballet of Canada’s booth from July 2^nd-3^rd and wrote messages of hope and celebration on paper feathers that now compose our peacock’s body and tulle-tail. 

Pride Toronto is a not-for-profit organization that hosts Pride Week, a 10 day long annual event in downtown Toronto, which celebrates our diverse sexual and gender identities, histories, cultures, creativities, families, friends and lives.

Pride Week is one of the premier arts and cultural festivals in Canada and one of the largest Pride celebrations in the world with an estimated attendance of over 1.2 million people. Pride Week is one of only eight officially designated City of Toronto "Signature Events," is recognized as one of the "Top 50 Festivals in Ontario" by Festivals and Events Ontario, and has been awarded the "Best Festival in Canada" award by the Canadian Special Event Industry two years in a row. 

Prairie Seasons. Designed and built by Shannon Lovelace, Roslynne Manson, Alena Zharska, Brenda Belmonte and Anne Armit  on behalf of the Royal Winnipeg Ballet. 

The tutu was created by members of the Canada's Royal Winnipeg Ballet’s Wardrobe Department and draws inspiration from the unique colors and textures of Winnipeg’s four distinct and beautiful seasons. The crystal basque represents both spring and winter: the first crocus of spring is surrounded with white lace, dripping with silver snowflakes and cast acrylic icicles. The silk organza plate represents both autumn and summer, covered with shades of ombred midnight blue, russet and gold finishes, and a pale sky blue. Hand painted leaves on the plate fade into a loose spray of golden wheat.

Founded in 1939 by Gweneth Lloyd and Betty Farrally, the Royal Winnipeg Ballet holds the double distinction of being Canada's premier ballet company and one of the oldest ballet companies in North America. In 1953, the Company received its royal title, the first granted under the reign of Queen Elizabeth II. In 1958, Arnold Spohr was appointed Artistic Director. Under his direction the Royal Winnipeg Ballet grew and developed to take its place among the world's internationally renowned companies.

Now under the leadership of André Lewis, the Royal Winnipeg Ballet embraces a wide array of dance styles, which includes classical story ballets and an intriguing collection of shorter dances. The RWB achieves a fine balance between the classical traditions of Europe and the boldness of contemporary ballet, which in turn has produced a unique style.

Salmon Coming Home. Designed and Built byLiana O'Brien, Pat Piercy, Mary Parker, Jacquelyn Rey, Bessie Harvie and Marjory Hope on behalf of The Port Theatre. 

The Port Theatre of Nanaimo, BC has more than 200 dedicated volunteers who staff audience services roles such as ticket checkers, ushers and seating guides.  A group of six of these volunteers enthusiastically jumped on board to decorate a tutu in recognition of The National Ballet of Canada’s 60^th Anniversary.

The Port Theatre chose to meld their beautiful location on coastal Vancouver Island with the theme of our landmark 60th anniversary.  Their muse was the permanent art installation which graces The Port Theatre Lobby, titled “Salmon Coming Home.” This sculpture of more than 100 carved salmon swimming along the lobby wall  was created by BC Aboriginal artist Phill Ashbee. Volunteers made 60 fish out of lightly padded gold, bronze and copper fabric which were attached to the ‘bronzed’ tutu in a depiction of the salmon ‘swimming’ on the wall of the Port Theatre. Each fish is representative of one year of the National Ballet. To further their vision for the tutu, a panoramic photograph was taken of the Coast Mountain Range, from the perspective of the theatre. The pattern of the mountains was used to create a quilted hip band of bronze fabric.  A line of copper ric-rac beneath the mountains depicts the ocean.

Historical Timeline. Designed and Built by Nancy Zimmerman. 

This tutu represents a box of nostalgic treasures; fond memories of the past, mingled with current joys celebrating the rich and intricate fabric of The National Ballet of Canada. Like the fine net of the tutu, a myriad of people with various skills have brought strength and beauty to the stage for the past 60 years.   

From the ticket takers to the dancers, they are all represented. The photos and tiny books include the images or names of dancers, directors, donors, staff, artists, physicians, choreographers, musicians and friends. Tokens and charms represent various performances, while the thimble, nails and shoes honour the work behind the scenes. The entire tutu is strung with pearls and chrome to represent the link from past to present and the marriage of art and industry. The tickets acknowledge the importance of the audience, the gloves for applause and community support.  

Combined, this jewel box of the past 60 years reflects a journey from humble beginnings to a remarkable present, and is a toast to an unforgettable future. 

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Tutu Cozy. Designed and Built by Svetlana Lavrentieva. National Open-Call for Artists selection.  

Comparing the Hudson’s Bay Company point blanket and The National Ballet of Canada as unmistakable icons of Canadian culture, the Tutu Cozy was created with one goal in mind: to protect its lucky owner from the unforgiving winters that are characteristic of Canada, on and off the stage.

The Tutu Cozy was designed as a traditional coat with a high collar wrapping around the waist and a series of buttons running through the centre. Two strands with mittens hang from the collar and extend beyond the tutu. All wool stitching around the hem and collar was done by hand. The colored stripes are a central focus of the tutu, each representing an element of Canadian life: red—”battle or hunt”, yellow—”harvest and sunshine”, green—”new life”, and blue—”water”.

Svetlana grew up in St. Petersburg, Russia but is now based in Toronto, Ontario. She spent her childhood wandering through world renowned galleries and museums and had attended her first ballet, Giselle, at the Mariinsky Theatre by the age of 6.  With a passion for art and architecture she began to study painting, art composition, sculpture and history. After moving to Canada she received a Bachelors Degree in Environmental Design from the University of Manitoba, a Masters of Landscape Architecture from the University of Toronto, and spent a delightful summer in Rome, Italy studying the history of art and architecture.

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Toronto-based designer and dancer, Angel Wong, selected the theme of Continuous Movement for her submission. Drawing from the Futurist period, her piece references the famous 1913 sculpture by Umberto Boccioni, ”Unique Forms of Continuity in Space“, which depicts a human-like figure seemingly flying through air. This tutu evokes an aerodynamic fluidity by using exaggerated folds, angles, and volumes, creating an asymmetrical, architectural-like form.  

Born in Hong Kong, Wong trained at The Australian Ballet School, and has performed with companies around the world such as Hong Kong Ballet, Birmingham Royal Ballet, English National Ballet, Ballet Jorgen Canada, and Proarte Danza.  Upon retiring as a Principal Artist in 2008, Wong enrolled at OCAD University, where she received a Bachelor of Design in Environmental Design. Despite thorough training in the disciplines of architecture and interior design, Wong could never quite leave the allure of the stage. In 2010 she launched NYLONBALLERINA:  a creative design company specializing in costumes and set design. She has worked with various companies such as Hit & Run productions, MICHI, and Robert Stephen of The National Ballet of Canada.

Wong is set to launch her debut collection of non-traditional bridal and contemporary evening wear under her own label, Angel Wong. 

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