Bows, Ballet Core, and Degas: A Dance of Elegance and Innocence
You wouldn’t think that a French man born in the Victorian Era and you would have much in common, but if you're reading this, it's likely that you too have an undeniable fascination with ballet - its dancers, its costumes, and its mesmerizing femininity. The aforementioned Frechman is Edgar Degas (1834-1917). Although most famous for his oil paintings and pastel work, Degas was also a talented sculptor. Regardless of medium, over half of the works created throughout Degas’ life depict dancers. Degas’ sculptures and paintings alike are a feast for the eyes, flaunting an almost Baroque-esque sense of dynamism and movement in their composition. This pairs beautifully with the subject of ballet, where the beautiful frills, bows, and tutus seem to dance themselves. Degas's work is a symphony of colors, costume, and figures working together to create an atmosphere of youthfulness, grace, and femininity.
The Ballet Class (1874).
Degas had an almost obsessive fascination with ballet - can you blame him? He found endless beauty in all stages of the ballet lifecycle, from strict rehearsals, to the tense dressing room, to the glory of the stage. In his paintings, Degas juxtaposes the discipline and rigidity of ballet with the humanity of its dancers, fostering a sense of intimacy and candor in a world that can be quite exclusive. Degas's paintings as well as sculptures provide a look behind the curtain of ballet performance; he never forgets the rigorous work that feeds and nurtures the beautiful result. Included in this result, of course, are the delicate ribbons and bows that adorn the subjects of his work, as seen in The Star (L’Étoile) (1878). In this work, Degas decorates every centimeter with vibrant, dreamy brushstrokes, except for the subject of the ballerina who is clearly depicted in all her frills and ribbons. In fact, the only figures in focus in the work are the “star” herself and glimpses of the tutus and bows of the ballerinas seemingly “in the wings”, waiting for their turn to dance.
The Star (L’Étoile) (1878).
Men and women have been putting bows in their hair for thousands of years. In fact, during the eighteenth century bows were gender-specific to adult males in Europe, while the women opted for sparklier options such as jewels. Although many women still did employ decorative bows during this time, this just goes to show the ever-changing tides of fashion, and how social concepts of gender performance change over time. If you’re interested in reading more about Bows throughout time, check out our article “In the Bondage of the Bow”.
Now, of course, we associate bows with all things feminine. Much of this shift can be attributed to ballet, and the innate emphasis upon statuesque femininity - a disciplined, beautiful, dynamic rigidity. Hair bows in ballet have a functional as well as aesthetic purpose. Not only do they add a delicate ornament to the trademark neat slicked back bun, but also act to secure the bun and prevent flyaways during performance.
Bows, in costume and in hair, can represent a fragile veil of feminine perfection. When tied perfectly, bows are the ballerina on stage, conveying a graceful elegance. However, a bow can be easily untied, revealing the gritty reality of ballet as a painful art form. Degas’ use of bows in his works reflect this, as we know he was fascinated by ballet rehearsal just as much as performance. This dichotomy persists even now, as a quick pinterest search of Ballet Core reveals ballet street style of loose bows and legwarmers, small bows on practice clothes, and intricate bows on performance costumes. Similarly, Degas’ Dancer with a Bouquet of Flowers (Star of the Ballet) (1877) portrays the latter, a ballet dancer in the height of her elegance, being applauded for her performance. In this celebratory moment, she boasts the embellishment of multiple bows and ribbons, from her hair to neck to her costume.
Dancer with a Bouquet of Flowers (Star of the Ballet) (1877).
A favorite work of mine by Degas is the bronze sculpture of The Little Fourteen Year Old Dancer (1881). If you’ve been lucky enough to see this on display at The Met, then you’ll remember that the statue is made of bronze and wood, but her clothing and accessories materially reflect the real world - her tutu is made of cotton and her hair bow is made of silk. This materiality is important because Degas knew that this ballerina would not be complete without her bow and tutu, and rather than crafting them from bronze he opted for softer, tactile materials that the ballerina may have actually worn. The young dancer’s silk hair bow reflects her youth, her femininity, and her artistic expression.
The Little Fourteen Year Old Dancer (1879-1881)
Degas clearly understood the connection between decorative bows and a connotation of femininity. Of course, bows can also convey a sense of feminine innocence, or lavish luxury when worn in numbers. Whatever way you’re looking to express yourself, there are no shortage of ways to wear bows. They are at once timelessly elegant, yet whimsical and nostalgic. Whether you find your inspiration from ballet, art, today's runways, or Arc + Bow, the bow is ubiquitous, and it’s not going anywhere any time soon.
Contributor: Anna Tulenko