Showcasing ballet design
Since The Australian Ballet’s earliest years, its productions have featured the best of local and international design. Unlike many ballet companies, The Australian Ballet has its own costume department, where skilled artisans turn the visions of our creatives into textured, coloured, breathing, glowing reality.
This showcase collects the work of some of our landmark designers. We celebrate the intricate layers of Kristian Fredrikson, the underwater fantasies of Hugh Colman, the sleek second skins of Jennifer Irwin, the gypsy swirls of Barry Kay and so much more. On with the costumes – and on with the show!
Kristian Fredrikson
The legend. Designer of both sets and costumes, creator of both the starkly simple and the richly intricate, Fredrikson had a deep knowledge of period costume and a seemingly endless imagination. His collaborations, particularly with Graeme Murphy and Janet Vernon, went far beyond decor: he was a shaper of ideas, and as the dance historian Caitlyn Lehmann put it, an "architect of extraordinary worlds".
Costume for Odette in Grame Murphy's Swan Lake (2002) by Kristian FredriksonThe Australian Ballet
Artists of The Australian Ballet in the 'Dance of the Hours' from Peggy van Praagh's Coppélia (2016)The Australian Ballet
Detail of costume for an Hour in Peggy van Praagh's Coppélia (1979) by Kristian FredriksonThe Australian Ballet
Robert Curran as the Partner and Justine Summers as Clara in Graeme Murphy's Nutcracker - The Story of ClaraThe Australian Ballet
Detail of costume for the Sugarplum Fairy in Graeme Murphy's Nutcracker - The Story of Clara (1992) by Kristian FredriksonThe Australian Ballet
Detail of costume for the Sugarplum Fairy in Graeme Murphy's Nutcracker - The Story of Clara (1992) by Kristian FredriksonThe Australian Ballet
Detail of costume for the Tsar in Graeme Murphy's Nutcracker - The Story of Clara (1992) by Kristian FredriksonThe Australian Ballet
Costume for Graeme Murphy's Nutcracker - The Story of Clara (corps de ballet) (1992) by Kristian FredriksonThe Australian Ballet
Detail of costume for Graeme Murphy's Nutcracker - The Story of Clara (corps de ballet) (1992) by Kristian FredriksonThe Australian Ballet
Leanne Stojmenov as the Fairy Canari in Stanton Welch's The Sleeping BeautyThe Australian Ballet
Costume for the Fairy Canari in Stanton Welch's The Sleeping Beauty (2005) by Kristian FredriksonThe Australian Ballet
Headdress for the Fairy Canari in Stanton Welch's The Sleeping Beauty (2005) by Kristian FredriksonThe Australian Ballet
Costume for a Lilac Cavalier in Stanton Welch's The Sleeping Beauty (2005) by Kristian FredriksonThe Australian Ballet
Detail of costume for a Lilac Cavalier in Stanton Welch's The Sleeping Beauty (2005) by Kristian FredriksonThe Australian Ballet
Detail of costume for Carabosse in Stanton Welch's The Sleeping Beauty (2005) by Kristian FredriksonThe Australian Ballet
Amy Harris as Carabosse and Lucinda Dunn as Aurora in Stanton Welch's The Sleeping BeautyThe Australian Ballet
Hugh Colman
For decades, Hugh Colman, a celebrated designer of both sets and costumes, has brought a luscious and palpable elegance to The Australian Ballet’s stage. The zephyrous lightness of his fairies for Maina Gielgud's The Sleeping Beauty, his moonlit swans and sumptuous court for Stephen Baynes' Swan Lake, and his fanciful fish and blossoms for Petal Miller-Ashmole's Snugglepot and Cuddlepie are just some of the memorable Colman moments. He is a master of the tutu, meticulous about period harmony, and a purveyor of good old theatrical magic.
Miranda Coney as Aurora in Maina Gielgud's The Sleeping Beauty (1984)The Australian Ballet
Costume for Aurora (Act I) in Maina Gielgud's The Sleeping Beauty (1984) by Hugh ColmanThe Australian Ballet
Detail of costume for Aurora (Act I) in Maina Gielgud's The Sleeping Beauty (1984) by Hugh ColmanThe Australian Ballet
Ulrike Lytton as Carabosse in Maina Gielgud's The Sleeping Beauty (1984)The Australian Ballet
Costume for Carabosse in Maina Gielgud's The Sleeping Beauty (1984) by Hugh ColmanThe Australian Ballet
Headdress for Carabosse in Maina Gielgud's The Sleeping Beauty (1984) by Hugh ColmanThe Australian Ballet
Artists of The Australian Ballet in Maina Gielgud's The Sleeping Beauty (1984)The Australian Ballet
Valerie Tereshchenko as the Russian Princess in Stephen Baynes' Swan Lake (2016)The Australian Ballet
Costume for a Cossack in Stephen Baynes' Swan Lake (2012) by Hugh ColmanThe Australian Ballet
Detail of costume for a Cossack in Stephen Baynes' Swan Lake (2012) by Hugh ColmanThe Australian Ballet
Artists of The Australian Ballet in Stephen Baynes' Swan LakeThe Australian Ballet
Lisa Bolte as the Queen in Stephen Baynes' Swan Lake (2012)The Australian Ballet
Detail of costume for the Queen, Act III, in Stephen Baynes' Swan Lake (2012) by Hugh ColmanThe Australian Ballet
Amber Scott as Odette with artists of The Australian Ballet in Stephen Baynes' Swan Lake (2016)The Australian Ballet
Detail of tutu for the Swan Queen Odette in Stephen Baynes' Swan Lake (2012) by Hugh ColmanThe Australian Ballet
Adam Bull as Prince Siegfried and Amber Scott as Odile in Stephen Baynes' Swan Lake (2009)The Australian Ballet
Detail of costume for Odile in Stephen Baynes' Swan Lake (2012) by Hugh ColmanThe Australian Ballet
Costume for Mrs Kookaburra in Petal Miller-Ashmole's Snugglepot and Cuddlepie (1988) by Hugh ColmanThe Australian Ballet
Costume for Bad Banksia Man in Petal Miller-Ashmole's Snugglepot and Cuddlepie (1988) by Hugh ColmanThe Australian Ballet
Costume for Sea Slug in Petal Miller-Ashmole's Snugglepot and Cuddlepie (1988) by Hugh ColmanThe Australian Ballet
Barry Kay
Performing with Rudolf Nureyev in his production of Don Quixote was a watershed for The Australian Ballet. When Nureyev decided to make his 1974 film of the ballet with the company, it put them on the international map. Barry Kay's costumes for Don Quixote - effervescent, crayon-bright, lavishly beaded and frilled - seemed to exemplify the young company's exuberance. They are still used today for a production fondly regarded as an integral part of The Australian Ballet's history.
Tutu for the Lead Dryad in Rudolf Nureyev's Don Quixote (1970) by Barry KayThe Australian Ballet
Detail of costume for a Dryad in Rudolf Nureyev's Don Quixote (1970) by Barry KayThe Australian Ballet
Costume for the Gypsy King in Rudolf Nureyev's Don Quixote (1970) by Barry KayThe Australian Ballet
Costume for the Gypsy Queen in Rudolf Nureyev's Don Quixote (1970) by Barry KayThe Australian Ballet
Amy Harris as the Street Dancer with artists of The Australian Ballet in Rudolf Nureyev's Don Quixote (2013)The Australian Ballet
Detail of costume for the Street Dancer in Rudolf Nureyev's Don Quixote (1970) by Barry KayThe Australian Ballet
Costume for Amour in Rudolf Nureyev's Don Quixote (1970) by Barry KayThe Australian Ballet
Detail of costume for Amour in Rudolf Nureyev's Don Quixote (1970) by Barry KayThe Australian Ballet
Jennifer Irwin
Textures like coral, colours that melt into the skin, layers of painting and printing, irridescence, gleams. It has to be Jennifer Irwin, whose distinguished career in costume design has led her down long collaborative paths with the likes of Graeme Murphy (their relationship has spanned 30 years) and Bangarra Dance Theatre's Stephen Page (she's worked with him for 20). Both Murphy and Page have brought Irwin on board in key projects with The Australian Ballet such as Rites and The Narrative of Nothing.
Costume for Evening Star in Stephen Page's Warumuk - in the dark night by Jennifer IrwinThe Australian Ballet
Detail of costume for Evening Star in Stephen Page's Warumuk - in the dark night (2012) by Jennifer IrwinThe Australian Ballet
Costume for Stephen Page's Alchemy (1996) by Jennifer IrwinThe Australian Ballet
Detail of costume for Earth in Stephen Page's Rites (1997) by Jennifer IrwinThe Australian Ballet
Costume for the Forbidden Fish in Stephen Page's Waramuk - in the dark night (2012) by Jennifer IrwinThe Australian Ballet
Bangarra Dance Theatre's Deborah Brown in Stephen Page's Warumuk - in the dark night (2012)The Australian Ballet
Lana Jones and Adam Bull in Graeme Murphy's The Narrative of Nothing (2012)The Australian Ballet
Costume for Graeme Murphy's The Narrative of Nothing (2012) by Jennifer IrwinThe Australian Ballet
Detail of a costume for Graeme Murphy's The Narrative of Nothing (2012) by Jennifer IrwinThe Australian Ballet
Costume for Graeme Murphy's The Narrative of Nothing (2012) by Jennifer IrwinThe Australian Ballet
Detail from costume for Graeme Murphy's The Narrative of Nothing (2012) by Jennifer IrwinThe Australian Ballet
Amy Harris in Graeme Murphy's The Narrative of Nothing (2012)The Australian Ballet
Kenneth Rowell
A painter as well as a designer, Kenneth Rowell had a long association with The Australian Ballet and set the tone for its most significant productions of the late 60s and early 70s. He designed the company's first full-length production of The Sleeping Beauty and dressed ambitious modern works like Robert Helpmann's Perisynthion. Geometric, boldly coloured and piled with cabochon jewels, his costumes were often hand-painted by his wife, Victoria Rowell.
Detail of tutu for George Balanchine's Ballet Imperial, 1967 (1967) by Kenneth RowellThe Australian Ballet
Warren de Maria and Josepine Jason in George Balanchine's Ballet ImperialThe Australian Ballet
Tutu for George Balanchine's Ballet Imperial (soloist) (1967) by Kenneth RowellThe Australian Ballet
Detail of costume for George Balanchine's Ballet Imperial (1967) by Kenneth RowellThe Australian Ballet
Detail of costume for George Balanchine's Ballet Imperial (1967) by Kenneth RowellThe Australian Ballet
Detail of costume for Soloist in George Balanchine's Ballet Imperial (1967) by Kenneth RowellThe Australian Ballet
Costume for Princess Florine in Peggy van Praagh's The Sleeping Beauty (1973) by Kenneth RowellThe Australian Ballet
Detail of costume for Princess Florine in Peggy van Praagh's The Sleeping Beauty (1973) by Kenneth RowellThe Australian Ballet
Costume for Aurora (Act I) in Peggy van Praagh's The Sleeping Beauty (1973) by Kenneth RowellThe Australian Ballet
Detail of costume for Aurora (Act I) in Peggy van Praagh's The Sleeping Beauty (1973) by Kenneth RowellThe Australian Ballet
Gabriela Tylesova
The award-winning Tylesova never thinks in a straight line. Her lavish designs spiral, curl and burgeon with an almost botanical vitality. She worked with The Australian Ballet for the first time on Schéhérazade, but it was her design for David McAllister's 2015 production of The Sleeping Beauty that allowed her vision full rein. A gilded, glittering, fairytale version of the Baroque, loaded with petals and peacocks, it regularly draws gasps when the curtain is raised.
Set for the Prologue of David McAllister's The Sleeping Beauty (2017) by Gabriela TylesovaThe Australian Ballet
Artists of The Australian Ballet, as Courtiers (Act III) in David McAllister's The Sleeping Beauty, take their bows (2015)The Australian Ballet
Valerie Tereschenko as the Lilac Fairy in David McAllister's The Sleeping Beauty (2017)The Australian Ballet
Detail of tutu for the Lilac Fairy in David McAllister's The Sleeping Beauty (2015) by Gabriela TylesovaThe Australian Ballet
Artists of The Australian Ballet in David McAllister's The Sleeping Beauty (2015)The Australian Ballet
Detail of tutu for the Fairy of Musicality in David McAllister's The Sleeping Beauty (2015) by Gabriela TylesovaThe Australian Ballet
Detail of the tutu for the Fairy of Temperament in David McAllister's The Sleeping Beauty (2015) by Gabriela TylesovaThe Australian Ballet
Benedicte Bemet as Princess Florine in David McAllister's The Sleeping Beauty (2015)The Australian Ballet
Ako Kondo as the Duchess, Dimity Azoury as the White Marchioness and Vivienne Wong as the Blue Marchioness in David McAllister's The Sleeping Beauty (2015)The Australian Ballet
Akira Isogawa
What happens when a world-renowned fashion designer meets ballet? Surprising, electric, breathtaking things. Akira Isogawa's designs for Graeme Murphy's Romeo & Juliet put The Australian Ballet's dancers into flesh-soft leathers and gauzes peaked like meringues, icicle-pale ball gowns and Bollywood-inspired finery. The Prince of Darkness stalked through scenes in a runway-ready, high-collared black coat.
Artists of The Australian Ballet in Graeme Murphy's Romeo & Juliet (2011)The Australian Ballet
Costume for Lady Montague in Graeme Murphy's Romeo & Juliet (2011) by Akira IsogawaThe Australian Ballet
Detail of costume for Lady Montague in Graeme Murphy's Romeo & Juliet (2011) by Akira IsogawaThe Australian Ballet
Costume for the Prince of Darkness in Graeme Murphy's Romeo & Juliet (2011) by Akira IsogawaThe Australian Ballet
Detail of costume for the Prince of Darkness in Graeme Murphy's Romeo & Juliet (2011) by Akira IsogawaThe Australian Ballet
Costume for Paris in Graeme Murphy's Romeo & Juliet (2011) by Akira IsogawaThe Australian Ballet
Costume for Romeo (Act I) in Graeme Murphy's Romeo & Juliet (2011) by Akira IsogawaThe Australian Ballet
Detail of costume for Romeo (Act I) in Graeme Murphy's Romeo & Juliet (2011) by Akira IsogawaThe Australian Ballet
Adam Bull as Romeo and Lana Jones as Juliet in Graeme Murphy's Romeo & Juliet, 2012 (2012)The Australian Ballet
Anna French
This astonishingly versatile designer has a long collaborative relationship with Stephen Baynes, one of The Australian Ballet's resident choreographers. The Doric simplicity of Beyond Bach, the riotous colour and wit of Molto Vivace, the Golden Hollywood glamour of Raymonda: all are the product of French's boundless invention and incisive eye.
Artists of The Australian Ballet in Stephen Baynes' Molto VivaceThe Australian Ballet
Costume for Stephen Baynes' Molto Vivace (2003) by Anna FrenchThe Australian Ballet
Detail of costume for Stephen Baynes' Molto Vivace (2003) by Anna FrenchThe Australian Ballet
Costume for Stephen Baynes' Molto Vivace (2003) by Anna FrenchThe Australian Ballet
Detail of costume for Stephen Baynes' Molto Vivace (2003) by Anna FrenchThe Australian Ballet
Detail of costume for Stephen Baynes' Molto Vivace (2003) by Anna FrenchThe Australian Ballet
Detail for costume for Stephen Baynes' Molto Vivace (2003) by Anna FrenchThe Australian Ballet
Costume for Raymonda in Stephen Baynes' Raymonda (2006) by Anna FrenchThe Australian Ballet
Detail of costume for Raymonda in Stephen Baynes' Raymonda (2006) by Anna FrenchThe Australian Ballet
Costume for Raymonda in Stephen Baynes' Raymonda (2006) by Anna FrenchThe Australian Ballet
Costume for Lead Hungarian Lady in Stephen Baynes' Raymonda (2006) by Anna FrenchThe Australian Ballet
Detail of costume for Lead Hungarian Lady in Stephen Baynes' Raymonda (2006) by Anna FrenchThe Australian Ballet
Angus Strathie
Strictly Ballroom, Moulin Rouge, Catwoman, the Age of Adeline: Angus Strathie designed for them all (winning an Oscar for Moulin Rouge). In 2003, we had a special moment with him when he designed the costumes for Meryl Tankard's Wild Swans. His creations for this dark-edged fairytale would not have been out of place on a runway - or in an art gallery. Glow worms in cones of pleats, village gossips in newsprint couture, a heroine in brave scarlet and so much more.
Costume for a Village Girl in Meryl Tankard's Wild Swans (2003) by Angus StrathieThe Australian Ballet
Detail of costume for a Village Girl in Meryl Tankard's Wild Swans (2003) by Angus StrathieThe Australian Ballet
Costume for a Village Girl in Meryl Tankard's Wild Swans (2003) by Angus StrathieThe Australian Ballet
Detail of costume for a Village Girl in Meryl Tankard's Wild Swans (2003) by Angus StrathieThe Australian Ballet
Costume for Eliza in Meryl Tankard's Wild Swans (2003) by Angus StrathieThe Australian Ballet
Detail of costume for Eliza in Meryl Tankard's Wild Swans (2003) by Angus StrathieThe Australian Ballet
Costume for the Little Mermaid in Meryl Tankard's Wild Swans (2003) by Angus StrathieThe Australian Ballet
Detail of costume for the Little Mermaid in Meryl Tankard's Wild Swans (2003) by Angus StrathieThe Australian Ballet
Costume for Pea Princess in Meryl Tankard's Wild Swan (2003) by Angus StrathieThe Australian Ballet
Detail of costume for Pea Princess in Meryl Tankard's Wild Swan (2003) by Angus StrathieThe Australian Ballet
You are all set!
Your first Culture Weekly will arrive this week.