Word: ges
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Dates: during 1980-1989
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...witty design quotations. So do plaids; in 1979, Saint Laurent's heart went deep into the Scottish Highlands, and he made a formidable, fanciful rig. Except for his Mondrian motif, Saint Laurent was not comfortable with minis; the late '60s belonged to André Courrèges. In fact, despite the influence of specific designs, Saint Laurent has not always led a crowd. He raised skirts in 1959, five years too soon. He lowered them in 1964, when the mini had several years to go. For that matter, he raised hemlines again only two years ago. This...
...Parade; the paintings of Dufy and Matisse for the imaginary seaside town of Zanzibar in Poulenc's Les Mamelles de Tirésias; Matisse again for the blazing and mysterious red-and-blue moonlit garden in Ravel's L 'Enfant et les Sortilèges; Chinese vase painting for Stravinsky's Le Rossignol...
...consisted of less material than a Victorian hanky and-at eleven inches above the knee-barely covered the area once reserved for underwear. On the way up from the pert Chelsea shopgirl look, the ultrashort skirt was given the imprimatur of couture by Parisian Designer André Courrèges in the middle '60s. The mini's bon voyage across the Atlantic was largely the work of Enfant Terrible Rudi Gernreich, who was not only the first U.S. designer to bare the thigh, but also earned dubious fame with his topless swimsuit...
...labor disputes. It was a trio of French works, with the umbrella title of Parade. The idea of presenting Satie's slight ballet Parade, Poulenc's absurdist opera buffa Les Mamelles de Tirésias and Ravel's L'Enfant et les Sortilèges came from Met Production Adviser John Dexter. The common theme was not World War I (though with effort all the pieces can be connected to it) but the devices of British Artist David Hockney, 43, who presided over the visual aspects of the show. Hockney, noted for his sophisticated, figurative paintings...
...masterpiece on this bill, an exquisitely orchestrated work full of both lyricism and humor, is L 'Enfant et les Sortilèges (literally The Child and the Sorceries). Colette wrote the libretto, a serenely wise fantasy about a child's guilt after a temper tantrum. When L'Enfant was first produced in 1925, George Balanchine, then 21, provided the incidental choreography. But noble lineage does not burden this opera in the way that it does Satie's Parade, probably because it offers ample possibilities for different interpretations. The little boy (played by Mezzo-Soprano Hilda Harris...