by ILIL ARBEL
These links connect to two dances by Anna Pavlova. We are so lucky they have survived.
http://www.youtube.com/watch?v=QMEBFhVMZpU
http://www.youtube.com/watch?v=Y9uJD8Lgefk
Russian Pearl Embroidery
Natalya, the expert on Russian Pearl Embroidery, is highly valued in Madame Koska’s atelier. It is a complicated, intricate form of embroidery, demanding perfection in the execution. The level of opulence achieved by this style is unmatched. The pearls themselves do not have to be very expensive, though beautifully rounded ones are preferred. But the combination of laying down gold couching thread, pearls, and sometimes other gems on brilliantly colored or thick black cloth, was fit for royalty, nobility, the church, and the fabulously wealthy.
Pearl embroidery is no longer in demand, but since some great craftspeople still make it, the art is not lost. Many elegant, vintage patterns still exist. These links show examples and techniques that would impress craft lovers or anyone who enjoys reading about the history of fashion.
This link leads to wonderful images of the trade.
https://www.google.com/search?q=russian+pearl+embroidery&espv=2&biw=1366&bih=672&tbm=isch&tbo=u&source=univ&sa=X&ved=0ahUKEwiV19eX0IHSAhWM0YMKHWLuDZEQsAQIGQ
This link will show you a historical picture of a Russian princess wearing a priceless pearl-embroidered dress and a headdress to match.
http://sisterwolf.tumblr.com/post/18162793023/princess-zinaida-yusupova-in-russian-dress
This link takes you to a place that could have been Madame Koska’s atelier.
http://www.npr.org/2011/09/09/140141279/at-maison-lesage-beauty-embroidered-by-hand
Who were the Russian mannequins in Paris of the 1920s?
Unlike today’s models, the mannequins were not adolescents. Girls between the ages of fourteen to sixteen were not forced to diet into anorexia and stunt their development. They were not over six feet tall, made of skin and bone; they had real women’s bodies. They possessed the obligatory tiny waist and long legs, but they were young ladies who looked charming and graceful in street clothes as well as on the runway.
In the 1920s, there were about a hundred young Russian women who worked as models in Paris. They were members of the exiled aristocracy, had no money, and needed employment – and the great couture houses were only too happy to take them. The young ladies had excellent educations and perfect manners and could converse with the clients with ease, not only because of their social habits and experience, but also because French was the first language of the Russian nobility.
There was a strict hierarchy in the modeling profession. The models were divided into several categories: Mannequins de cabine, who were on the payroll for the couture house; mannequins vedettes, or “stars” who came for special shows, and mannequins volantes, or flying models, who were hired to travel with shows abroad. The last category, the mannequins mondaines (society models), were either particularly beautiful or had noble titles of the highest level. They did not appear in shows. They were given dresses to wear as they circulated in society, presenting the clothes to those attending balls, opera, and other social events.
The house of Chanel, for example, had two “star” mannequins. The first, Princess Mary Eristova, was born in Georgia, but her father, Prince Schervachidze, was a member of the State Duma of Russia, raising his daughter and her siblings in Saint Petersburg, where she became a lady-in-waiting for Empress Alexandra. When she arrived in Paris and was introduced to Coco Chanel, the couturier was impressed with her fragile, dark, exotic beauty that perfectly suited Chanel’s style. Gali Bajenova, a tall blonde with a full figure, was the daughter of a famous general, Konstantin Nikolayevich Hagondokov. She came to Paris as a married woman and was also hired by Chanel to be a society model, showing the Chanel dresses at many social events. Her pictures appeared regularly in popular fashion magazines.
Many noble families would have objected to their daughters doing any work at all – let alone showing themselves in public – but they had no choice. Many Russian immigrants left with absolutely nothing, and many of them had no marketable skills for anywhere but Russia, where the fathers acted as officials and the mothers served at court. And modeling paid extremely well – a model could earn four times as much as a waitress or a shop girl. In addition, these young ladies had a love of fashion that helped them settle into the new life with a level of comfort. Many saw it as an adventure and enjoyed the trade and the social opportunities it brought.
I hope these bits of history help you enjoy the book. One problem I must remark on – the changing nature of the Internet may cause a problem. The links I present here may simply disappear from one day to another. But you can always try to google the same words and new sites and images will probably be added. And you never know what surprises may come up. If you ever find a video of Vaslav Nijinsky, particularly if he is soaring into a grand jeté, please let me know!
Chapter One
“And here comes Miss Gretchen, vearing a dress inspired by Russian peasant designs but recreated vith elegant fabrics instead of homespun cotton or vool. You vill notice that the overcoat, or Zipun, is made from chiffon, so it is sufficiently translucent to show the traditionally pearl-embroidered Sarafan, made of heavy velvet; you vill see the pearls more clearly as Miss Gretchen is taking off the Zipun. Note how the Sarafan flows from the shoulders to the floor, and since it is meant for evening vear, ve have dispensed vith the blouse that is usually vorn under it. The pearls are embroidered vith silver rather than the traditional gold thread since it is more in tune vith our theme tones. And here comes Miss Cornelia in a deep blue and grey gown. Notice the sapphires that surround the décolletage…”
Gretchen floated behind the cream-coloured curtain, the ephemeral outfit trailing after her, her gleaming amber hair shining softly in the sunlight. Miss Cornelia glided forward, her blond curls shimmering like a halo around her classically beautiful face. The third mannequin waited by the curtain, ready to be called, yet unseen. The fashion show was in full swing, going entirely according to Madame Koska’s original plans. Early on she had decided to call it Mistral, after the north wind that blew grey and lavender clouds over stormy skies. Everything was designed in blue, purple, lavender and grey. Morning and afternoon outfits, elegantly tailored, and evening dresses flowing over the body like water appeared one after the other, the fabrics swishing seductively. They were beaded with extravagance; everyone could recognise the Russian opulence superimposed over the Parisian elegance.
Madame Koska noted with deep satisfaction that the room was packed. The light and airy hall sparkled with flower arrangements of blue irises, white calla lilies, and small lavender and purple hothouse anemones that reflected the fabric tones. The scent of expensive perfumes, flowers, and tobacco permeated the warm atmosphere. The afternoon sun streamed diagonally through the enormous windows, illuminating the room with shafts of golden light that showed the swirling smoke from many cigarettes. The guests sat around the well-appointed tables, covered with lacy white tablecloths and supporting heavy, real silver; they sipped their tea or coffee from thin, white china cups, hand-painted with tiny flowers and a thin rim of silver. The sumptuous food, catered by Madame Koska’s great friend, Madame Anna Golitsyn, included many of her celebrated pastries, some Russian, some continental, and she added a touch of whimsy by decorating the petit fours in the colours of the Mistral collection and adding crystallised violets wherever possible.
Madame Koska had no doubt that the show would prove highly successful. Her air of confidence and complete control enhanced her elegance and charm that easily rivalled her mannequins’ even if they were girls half her age. In her late forties, Madame Koska was a living proof of her own belief that a woman could be lovely at any age. With her tall, slim figure, perfectly displayed by the tailored grey silk suit, her almost line-free face with its fair skin, her chocolate-coloured eyes, and her dark brown, softly upswept hair, she would have looked ravishing in any of her creations.
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As the show was reaching the end, Madame Koska glanced at the table where her close friends were sitting and smiled at the familiar faces. These were Madame Golitsyn and her niece Natalya Saltykov, who was Madame Koska’s chief embroiderer and beader; Madame Golitsyn’s brother Vasily and his girlfriend Wilma, who looked charming but out of place in her bold flapper outfit; Mr. Van der Hoven, who was Gretchen’s father; Mr. Korolenko, with whom Madame Koska had, as she called it, an “understanding;” and she could not help being amused by the presence of Inspector Blount, an admirer of Natalya. He must have asked his friend Mr. Korolenko to bring him to the show since Madame Koska did not remember inviting him. To her surprise, she saw a stranger sitting by Madame Golitsyn. She must have come rather late, because Madame Koska did not notice her earlier. A slight, delicate woman no longer in her first youth, she was striking with her porcelain skin, dark eyes, and jet black hair pulled back in a tight, glossy high chignon. Madame Koska found her vaguely familiar, but could not place her and did not have time to think about it since many people were approaching her. Some wanted to congratulate her on the lovely show, others to request an appointment with the intent of buying one of the dresses or ordering another one, and several journalists asked the usual questions and took some photographs. She dealt graciously with everyone, and as the room emptied, approached her friends who remained sitting at their table, waiting for her.
Madame Golitsyn handed her a well-deserved cup of tea, and everyone began talking all at once, shaking her hand, or hugging her. Only Natalya sat quietly, smiling with such deep and sincere happiness that it touched Madame Koska’s heart. Mistral was Natalya’s first opportunity to show her magnificent work to a large buying public, and since the occasion was so successful, her future in the industry was assured. It represented a milestone for the young woman who had bravely decided to forget her glorious past in prerevolutionary Russia and adjust, albeit with difficulty, to the life of a working woman.
“The last show for your little Gretchen, at least for a vhile,” Madame Koska said to Mr. Van der Hoven.
“Yes, soon she will go off to the university,” said Mr. Van der Hoven proudly. “But she tells me she will return to the world of fashion when she gets her degree.”
“I vill be happy to have her,” said Madame Koska. “But of course, she vill no longer be a mannequin. She can be a vonderful vandeuse, so talented and tactful.”
“I can’t see her buried in academia,” said Wilma. “She is just too beautiful for such a life.”
“But too intelligent not to earn a degree,” said Mr. Korolenko. “I am glad you are sending her to the university, Mr. Van der Hoven.” Everyone nodded in agreement.
“A university-educated voman vith a good business sense and good style is a treasure,” said Madame Koska.
Mr. Van der Hoven smiled at her gratefully.
“Miss Saltykov, three vomen said they vanted to buy Russian embroidery,” said Madame Koska, smiling at Natalya. “And Annushka, dorogaya, everyone raved about your food, as alvays.” Madame Golitsyn smiled at her friend.
“Thank you, my dear; I am so happy about it. But we must not forget our guest,” said Madame Golitsyn. “I would like you to meet my old friend, Madame Galina Danilova.”
Madame Koska laughed. “I thought I knew you, Madame Danilova. I have attended so many of your performances, but somehow I did not recognise you.”
“That is natural,” said Madame Danilova. “We look quite different on stage. The ballet gives us a certain magic that disappears when we are seen in broad daylight.”
“I am so pleased to meet you,” said Madame Koska. “I truly admire your dancing, and your entire group, really, is such a delight.”
“I must tell it to my husband,” said Madame Danilova, smiling. “He will be overjoyed to hear it, particularly since he sent me as an emissary. He would have come himself, but sitting still for hours at a fashion show is not a favourite thing with him, I am afraid. He is too restless.”
“An emissary? For vhat reason?” asked Madame Koska, smiling.
“He is determined that you design the costumes for a new and innovative ballet, which we are going to premiere in London in the autumn,” said Madame Danilova.
Madame Koska was taken aback, so much so that she forgot her manners and stared at the prima ballerina. “But… I have never designed for the ballet! Besides, you have your famous house designer!”
“Yes, but Monsieur Bex is on business in the United States for at least a year, so he is not available for the London show. My husband feels it would be nice to have a fresh approach.” Madame Danilova sipped her coffee and smiled as if the matter was settled.
Madame Koska knew she should not undertake the assignment. It was not a good idea on any level. Sasha Danilov, the famous impresario of the Ballet Baikal, had the reputation of being difficult, demanding, aggressive, and unreasonable. Not a personality Madame Koska would wish to work with. He was also known for his creativity, culture, and hypnotic charm that made everyone submit to his iron will. He often experienced terrible money difficulties due to his bad business practices. But then again, he always managed to get out of trouble in the end, and he was basically honest. His ballets were pure enchantment, and Madame Koska loved the art, finding herself transported by it to faraway fantasy land. But no, no, no! She will adamantly refuse to do it. It spelled nothing but trouble… Money and time would be terribly wasted; impossible, quite impossible… And yet, such a challenge, creating costumes that would move, sway, dance, and become virtually alive… No! It would be madness, pure madness! Out of the question, and that’s it! She will adamantly refuse!
“Very vell, Madame Danilova,” said Madame Koska. “Vhy don’t you come to my atelier tomorrow, so ve can discuss it and see vhat ve can do…” and she pulled her card out of her bag and handed it to the ballerina.
Workers began to move about the empty hall, throwing glances of disapproval at their table, the last one to be occupied. They wished to get on with their work.
“Time for all my dear guests to go home and rest,” said Madame Koska. “Madame Golitsyn and I vill stay to supervise the dismantling of the show and of the catering equipment, but the rest of you must leave… they are trying to finish off.”
“It has been such a great pleasure to be together again,” said Vasily. “Do you remember how we enjoyed our Christmas dinner at the Saint Petersburg Room? I do wish we could do it again sooner than next Christmas.”
“Yes, what a lovely traditional dinner it was, darlings,” said Wilma. “Is there any other holiday soon? A real Russian one?”
“As a matter of fact, there is,” said Mr. Korolenko. “Easter is almost upon us.”
“Indeed!” said Madame Golitsyn. “Let us have a wonderful traditional Easter dinner at the Saint Petersburg Room. I’ll make reservations tomorrow. Mr. Van der Hoven, you must bring Gretchen to this celebration. You will both enjoy it.”
“We would love to,” said Mr. Van der Hoven. “Thank you!”
“Madame Danilova, would you come and bring your husband?” said Madame Koska.
“I am sure he would be more than happy,” said Madame Danilova. “And so would I!”
“So it’s arranged, but we really must leave,” said Mr. Korolenko. “Madame Danilova, don’t forget to tell Sasha I will visit him while he is in London. It’s been years…”
“Is there anyone you don’t know personally?” asked Madame Koska, laughing.
“Not if they are from Saint Petersburg or Moscow,” said Mr. Korolenko. “Such a small society, we all know each other.”
“Miss Saltykov, may I take you home, since your aunt is staying here?” asked Inspector Blount who never missed an opportunity to spend time with Natalya.
“Yes, thank you, Inspector,” said Natalya, “unless Madame Koska will allow me to stay and help packing.”
“Packing, in this lovely dress, my dear?” said Madame Koska. “No, no. Go and rest. We have enough people here who ar
e ready to do the packing. I’ll see you tomorrow at the atelier.”
Looking after Natalya, Madame Golitsyn smiled. “Yes, she would be willing to get herself dirty packing and carrying in the pretty dress she worked so hard on. She is so happy with you. I believe her adjustment is complete. She no longer thinks about her past as Countess Natalya Saltykov at the Tsar’s court… she is quite happy in her new role as a middle-class designer and craftswoman. Do you remember her old friend, Lady Victoria?”
“Yes, of course. She is coming to the atelier soon for summer clothes.”
“Natalya visits her sometimes, and enjoys the evenings, but when I asked her about any eligible young men of the upper classes who may take an interest in her, she made it very clear that she would not welcome such an occurrence. She is proud of her position at what she calls The Best Atelier in the World.”
Madame Koska was touched. “In the future, when I begin to contemplate retirement, I will offer her a position of a junior partner. I know she is not any good with business, but we both know who is… I can see Gretchen, as the business partner, and Natalya, as the designing partner, doing a very good job running the atelier when I am gone.”
“Don’t rush into it,” said Madame Golitsyn, smiling. “We want to have you run this wonderful atelier for many years to come.”
“Far future, then,” said Madame Koska, laughing. “Tell me, Annushka, did Natalya design this dress, or make it from a pattern?”
“She designed it,” said Madame Golitsyn. “She always does.”
“I think I am going to ask her to design some dresses for me,” said Madame Koska. “She is very good, this dress was truly beautiful. And so was the suit I saw her wearing at the Christmas dinner. But I’d like her to gain experience designing for others. I’ll do it very slowly so as not to frighten her.”
