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Modjeska
Biography
Queen of a modern publicity
Costumes
Costumes and dresses
Teaching of the Art of Women's Tailoring
Lingerie
INSPIRATIONS: Photo Gallery
RECONSTRUCTIONS: Description of Dresses and Patterns
Crinoline for the role of Barbara Radziwiłł (1865)
Crinoline with velvet ribbons (1865)
Crinoline in stripes (1868)
Crinoline with meanders (1869)
Riding Habit (1870)
Bustle ball gown - one (1871)
Bustle ball gown - two (1871)
Mary Stuart (1872)
Princess style with flowers (1878)
Julia (1878)
Cleopatra (1880)
Princess style with fur (1880)
Princess style black and white (1882)
Bustle gown with tassels (1884)
White bustle (1885)
Bustle with saber (1886)
Beaded ball dress (1891)
Art nouveau with buttons (1898)
Swimsuit (1900)
Classic art nouveau (1903)
Helena Modjeska’s costumes in the light of fashion of her age
In the second half of 19th century theatrical costume became an autonomous component of the show carrying interpretative and aesthetical values. Actresses’ selection of stage costumes took into account besides personality of character also trends in fashion. Sarah Bernhardt, Eleonora Duse, Ellen Terry all wore costumes fit to role and figure which made their stage performance more natural. Those attempts coincided in time with aspirations to reform women dress which arose from change of the lifestyle. (Modjeska, a friend with American suffragists already in 1891 wore back stiffening inserts instead of corset.)
For her an important part of working on the new role was designing a proper costumes which – as intended by writer – would reflect character’s personality, characteristics and temperament. “Even at the very beginning of my career I used to produce in my mind’s eye an image of the figure I was to depict, down to such details as dress and gestures.” Wrote Modjeska in her autobiography (Modrzejewska 1957: 76). In her letter from 1905 to a stage debutant Grace Fisher she explained:
I am glad you believe in necessity of individualizing costumes for given role. This is a very important matter to have costumes which not only fit your figure but also fit with the mood of the character you play (Orzechowski 2000: 284).
Modjeska used to order her costumes in several cities throughout Europe and America. Initially perhaps in Vienna later on in Paris, London, Berlin (Antigone and Laodamia stage costumes from 1903) and in New York. Costumes for some roles were created in her home tailors studio in Arden. Actress draw designs and seamstresses draped fabric on a dummy her size. Then she took pictures of unready dress with Kodak brand name camera. Thanks to this she exactly knew how she would appear on stage.
Designs of costumes for Shakespearean roles (Portia, Beatrice, queen Catherine), historical and French roles are preserved. Many of them were designed by Helena Modjeska herself (those are signed with her first and last name, and signature fits with samples of her handwriting from autographs). On small watercolors actress wrote down detailed notes concerning colors, types of fabric and ornaments that were used. Władysław Benda, her nephew also designed some dresses and decorations for plays in which she performed. Blueprints of costumes he designed for Modjeska are located in National Museum in Poznań (Graphic Department; Gr 385), and also in Bowers Museum, Polish Museum In Chicago and in Hoover Institution – as a part of Paderewski collection.
Humble beginnings
First theatrical costume of Modjeska apparently was a dress of aunt Teresa “with a black mantle on the head” used in home staging of tragedy authored by little Helena and her brother. On the threshold of career “I had at my disposal two dresses one white and one black” – she wrote in her autobiography (Modrzejewska 1957: 48, 76). Run of misfortune ended after years, for her third American tour started on March 16th 1878 she brought over thirty costumes for the roles of Camille, Adriana and Frou-Frou. Seven years later she will departure from Liverpool to New York with 65 trunks. At the customs office she testified she “carries wardrobe alone worth 20 000 dollars” (Szczublewski 1977: 442).
Sewing „tormented” future actress since her childhood. After a great fire in Cracow in 1850 ten years old Helena decided to „learn sawing as quickly as possible to help mother” (ibidem: 13). In her letters written after many years from America she would equate happy time of her childhood with images of women leaning over their needle-work and embroidery. Young Helena also sew dresses for dolls and passion for this would accompany her till the end of her life. Already in Cracow Modjeska’s talent for composing her outfit was noted. Writer, Kazimierz Chłędowski recalled that „despite limited resources already back then she managed to dress with taste” (Szczublewski 1977: 54). At the start of 1870s after move to Warsaw Modjeska was recognized as city’s best dressed lady.
French dresses and French plays
In theatrical reviews issue of Modjeska’s dresses returns repeatedly. Most emotions always arose costumes of female characters of “courteous” French plays written about in papers on both continents: of Adriana (Adriana Lecouvreur E. Scribe and E. Legouvé), Camille (The Lady of the Camellias A. Dumas fils), Odette (Odette V. Sardou), Gilberta (Frou-Frou A. Meilhac and L. Halẻvy). William Winter, harsh in his assessments, one of the most important theatre critics of the age after watching Adriana Lecouvreur wrote that even costumes of actress “smell” Adriana. Copy of his review is part of Old National Theatre Museum collection in Cracow. Unfortunately, some of Adriana costumes were destroyed in the fire in 1888. Modjeska was deeply affected by the loss. Play, deprived of the costumes was taken from the stage for the reminder of the unlucky tour.
Later in Warsaw Modjeska bedazzled with „dresses of her own design” for a role of Frou-Frou. In 1878 American critics mentioned great elegance of her The Lady of the Camellias. Based on detailed accounts of dresses Camille wore in subsequent acts one could sew accurate replicas of her costumes. In 1882 tight dresses and fake diamonds for the role of Odette conquered London.
Odette as seen by the public at Haymarket Theatre, wore a dress of the most fashionable at the turn of 1870s and 1880s style "à la princesse" - style created by Charles Worth a pioneer of what is today a haute couture tailoring. Worth was an artist, considering outfit a piece of art. Modjeska attitude towards dress was similar. American papers from the end of 1870s (copies of those articles are preserved in National Old Theatre Museum collection) were filled with remarks concerning Modjeska’s dresses designed by a famous tailor who also worked for empress Eugénie (wife of Napoleon III), Sarah Bernhardt and Lillie Langtry. It can be assumed that during her first tour of 1878-1880 Modjeska ordered her costumes at Worth, whose famous fashion house was operating in Paris since 1871. (Worth established existing today French Haute Couture Association affiliating best French tailors).
Thanks to reviews and preserved correspondence, we know that Modjeska’s costumes were sewed in Paris in well-known studio of Duluc sisters. Aurelie and Leontine Duluc were active before appearance of first department stores offering wide variety of mass produced clothing. Anna Wolska a friend with whom Modjeska conducted a lively correspondence in 1882-1883 often visited Parisian atelier on actress behalf dealing with issues of wardrobe.
Modjeska, the same way as princess of Wales, has reputation of best dressed women of our time. She’s also among most generous patrons of French tailors.
- noted one Pennsylvanian daily in 1885 (Coleman 1969: 360; ‘princess’ mentioned here is perhaps Alexandra, wife of Edward VII, future queen of England). Sarah Bernhardt was also ordering her costumes and private dresses at Maison Duluc (hence, not without a reason similarities were found between costumes of both actresses – they could have come from atelier Duluc. Both of them met in Paris studio in 1885).
However, Modjeska most of all trusted herself, hence designing and sewing were fixed items of her daily schedule. “I often sew such items for the stage, that I would not like to entrust to anyone” – she recalled in one of her letters (Got, Szczublewski 1965: I 162). Repeatedly actress had to rely on her own creativity and intuition in preparing her stage costumes. Before New York premiere of The Lady of the Camellias
Bought (…) cheaply piece of blue fabric, acquired some inexpensive pink fabric and a woman for sewing. She designed and finished those dresses and they stunned female half of New York (Szczublewski 1977: 239).
Those costumes were very contemporary in style, of the kind one lady could put on for a bal or a sumptuous party. Female part of the public treated Camille as a fashion show, very appealing because presented in convention of a dramatic story. (Worth at the same time organized already first fashion show in Paris, once a year he also toured with his models major European and America cities, showing his new designs). Modjeska knew that costumes are a kind of good investment, since many women come to theatre with a sole purpose of enjoying richness of her stage dresses.
From the very first performances in America intense interest of the public was drawn to headgear of the actress. In 1880s „Modjeska” and „Adriene” models of straw hats could be purchased almost anywhere in the world via Bloomingdale’s mail-order catalogue (Bloomingdale’s exists today and is one of best known department stores in the US). Number and variety of products that Modjeska granted her name to or which she personally signed - such as advertisement campaign of a face cream with her photo and her hand written recommendation – was truly impressive. It proves that Modjeska had a good sense of marketing and constitutes an interesting testimony to the change of lifestyle and customs. This type of advertisement even back then surprised no one. Lilly Langtry even took part in Coca-Cola’s campaign and remained for the time being according to contemporary terminology a “face” of the drink. In case of garments transposition of names of the starts on dress designs was rather arbitrary practice of manufacturers. Market was self-creating as women regularly went to the theatre to watch stage costumes of famous actresses.
“Hats Modjeska style, attire Modjeska style, Miss Helena became so fashionable that she started to dictate fashion style in the cities she visited”. Noted „Kurier Warszawski” [„Warsaw Courier” - polish daily] (Szczublewski 1977: 254). Modjeska costumes possessed a magical power of inspiring fashionable women.
Shakespeare
About her roles in plays of Stratfordian actress wrote: “I do not like borrowing and imitation, my sole desire is to be faithful to Shakespeare” (Orzechowski 2000: 221). Also in issues related to clothing she wanted to be faithful to Shakespeare and free of suspicions of borrowing.
She was getting entirely involved in preparing clothes for Shakespearean roles –they were all well thought out, often preceded by historical research regarding given era. Such was the case with roles of Barbara Radziwiłł, Mary Stuart, Cleopatra. Modjeska admitted in her letters and interviews that she used to spent many hours analyzing and copying historical patterns. Those drawings were a source of inspiration for her as she designed her stage costumes, props and stage scenery.
A desire to add something new both to the role itself and to character’s clothing lead her to make daring experiments of matching styles from distant ages, combining items from antiquity, middle ages, renaissance with outfits worn during the same year in Paris. What differentiated Shakespearean dresses of Modjeska from costumes of other famous actresses of the time, was that she was the author of most of those designs. Alphonse Mucha and René Lalique were helping Sarah Bernhardt while Ellen Terry was being supported by Edward Godwin, architect, who authored costumes for the role of Portia – role about which Oscar Wild wrote a sonnet.
Modjeska tried to fit her stage costumes to current fashion: in 1860s she still performed dressed in crinoline in 1870s and 1880s she replaced it with a bustle (except for the period 1878-1882 when she was performing on stage in fitted „à la princesse” style of dresses). At the turn of the century she was selecting simple cut, lampshade-shape dresses. During second half of 19th century fashion dictated clear trends changing every decade. Modjeska reacted to those changing trends at the same time adapting them to fit her own artistic vision.
Parisian trends harmonized in her costumes with items taken from different periods. Actress daringly combined renaissance clothes with 19th century fans (Juliet from 1881) and bustles (Rosalind from 1882). Cleopatra from 1880 wore a dress according to fashion style of the turn of 1870s and 1880s but decorated with Egyptian ornaments. Sleeves of stylized to resemble renaissance style Viola’s costume (1895) were so huge as fashion of 1890s dictated. One can multiply examples of such successful combination. They often allow for a precise dating of photographs, thanks to analysis of the silhouette and details of clothing. Modjeska designed costumes not only in agreement with contemporary fashion but often also in agreement with painting tradition of portraying Shakespearean female heroines (especially with those proposed by pre-Rafaelians).
Costumes for Shakespearean roles which actress played during different periods of her life were changing with passage of time. Juliet from the end of 1870s was “free and happy girl raised lacking awareness of the world and life” (Modrzejewska 1957: 175) and in absolute awareness of Parisian fashion. Modjeska in 1878 was a most fashionable Juliet ever to appear on stage. In „à la princesse” - style dress with richly decorated corset, skirt which emphasized body’s silhouette and in intricately pined up hair she looked like cut out from the pages of fashion magazine. Controversial costume („à la princesse” style of dress as to tight was considered indecent) was quite removed from realities of Shakespearean drama. Juliet from 1881 in London wore a different outfit then Juliet in America: simple-cut dress, tightened in the waist with her hair let down were closer to paining tradition of portraying this Shakespearean heroine.
An icon of good taste
Modjeska was sometimes faithful to trends but to her own vision of stage dress she was always faithful. She possessed a seldom gift of perceiving fashion in a conscious and creative way: an ability to individualize dresses, fitting them to her silhouette, age, type of beauty, character, temperament. Her costumes always were to some degree “contemporary and aesthetically deeply thought out” (Komorowski 2002: 148). A testimony to the contemporary character of her stage is borne by the fact that private and stage clothes of actress were being interchanged. In 1884 she gave an interview for „The New York Times” wearing costume from the last act of Adriane, a year later on her son’s wedding she was wearing dress from the first act of Odette. She knew how a woman should dress, how much to draw from fashion to look well. She was taught this by her work on stage, by observation of Parisian theatres, aristocrats’ fancy dresses which she admired in her childhood and by her studies of costumes. In the second half of 19th century there were no alternative ways to dress – woman always put on a long skirt and uncomfortable corset. However, within existing rules a figure could be corrected by appropriate decolletage of the dress or by draping a sleeve, various colors and textures of fabrics were available. As an artist she was well aware of those possibilities.
Modjeska on stage was always dressed fashionably, and she looked great. It does not mean that she faithfully copied Parisian trends. Those she approached in a similar manner as her roles: by trying on and making them fit for her, fit with her sense of beauty. She was not exclusively interested in changes of contemporary fashion. More than whims of milliners she treasured beauty of clothes from distant ages: from Pharaoh’s Egypt, antique Greece, from middle ages and renaissance - especially when it was about preparing costumes for roles of great historical figures. She was also helping debutants prepare their costumes. One anecdote speaks about novice actresses borrowing from Felicia wife of Ralph [son of Modjeska] (who inherited part of actresses’ preserved stage costumes) dresses from famous roles believing in their magical power of winning over the public.
Modern women magazines would express it in a concise way: Modjeska’s costumes inspired women and tailors. Actress knew how to play with fashion , that’s why she became one of icons of 19th century. She was able to transform dressing up in a kind of art organically related to art closest to her heart that of a theatre.
Bibliography:
M.M. Coleman, 1969, Fair Rosalind. The American Career of Helena Modjeska, Cherry Hill Books, Cheshire, Conn.
J. Got, J. Szczublewski (selection and editign), 1965, Korespondencja Heleny Modrzejewskiej i Karola Chłapowskiego (1859-1909), vol. 1, 2, Warszawa 1965.
J. Komorowski, 2002, Piramida zbrodni. „Makbet” w kulturze polskiej 1790–1989, Warszawa.
H. Modrzejewska, 1957, Wspomnienia i wrażenia, Kraków.
E. Orzechowski (wyb. i oprac.), 2000, Korespondencja Heleny Modrzejewskiej i Karola Chłapowskiego, Kraków 2000.
C.O. Skinner, 1959, Madame Modjeska, „Pamiętnik Teatralny” 4.
J. Szczublewski, 1977, Żywot Modrzejewskiej, Warszawa.
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