NYCB Vol. 15 No. 12 - Vienna Waltzes Costumes

Stephanie Saland. Photo by Paul Kolnik

“In 1977, at the age of ninety, Karinska gave a magnificent farewell performance with her extravagant and intensely beautiful costumes for Balanchine’s last full company celebration, Vienna Waltzes. That her last production was her most glamorous, resplendent, and sensual was a fitting finale. Vienna Waltzes required over sixty gowns and as many velvet-and-brocade waistcoats and vests. With every inch imported from Paris, each costume cost over $500, and once again budget-minded associates queried, ‘Why silk?’ ‘Because it moves,’ Balanchine replied, never tiring of explaining. ‘It’s natural, made by worms. Nylon doesn’t move, it’s made by machines.’

Karinska's first costumes for Balanchine shown here in Cotillon

“This ballet marked the crowning achievement of Balanchine’s rule. It was a celebration of pure joy and beauty and languid waltzing on a scale never before seen in his theater. That Karinska was still there to dress this ballet seems only natural and yet some kind of a miracle.

“Forty-five years had passed since that first fitting in Paris for Cotillon, when she covered up her nerves and inexperience with terrified dignity while Bérard and Balanchine ran tulle through their fingers and discussed colors and fabrics.

Cotillon (1932)

“She was unveiling for Balanchine her latest, and her last, creations—the creamy white ball gowns for the last waltz, the ‘Rosenkavlier Waltz,’ each with a differently cut neckline, low-slung back, dropped waist, and full, lush skirts and train that were, and are, an exaltation of bias-cut silk satin. The gowns practically danced alone, and Balanchine was thrilled.”

“A short time later, Madame Karinska suffered a massive stroke. Her grandson is convinced that her mind had literally exploded with joy at Balanchine’s happiness with her dresses. To please him had been the gre

atest wish and the greatest triumph of Karinska’s life.”

(left) Suzanne Farrell by Steven Caras

(center) Suzanne Farrell and Jorge Donn, by Fred Fehl

(right) Suzanne Farrell and Adam Lüders by Martha Swope

“Underneath Suzanne Farrell’s Vienna Waltzes gown, nestled in the soft ruffles, was a small gold rose. It was there ostensibly to indicate where the ballerina should hold her train while she waltzed, but really it was there for no reason at all. It was there for Balanchine and Farrell and Karinska to know it was there."

--Costumes by Karinska by Toni Bentley