Designs by Valentino Garavani for the NYCB's inaugural Fall Fashion Gala performance. "They not only created exactly what I envisioned, they embraced the techniques and details of my collections," Valentino wrote of Happel and his team in the book.
Designs by Valentino Garavani for the NYCB's inaugural Fall Fashion Gala performance. "They not only created exactly what I envisioned, they embraced the techniques and details of my collections," Valentino wrote of Happel and his team in the book.
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Virgil Abloh "had never done costumes before," Happel said, remembering the designer's enthusiasm to learn from — and collaborate with — him and the NYCB's choreographers for a 2017 performance of "Composer's Holiday." "He was very clear, he was very straightforward. He came up with ideas and we followed through with them."
Virgil Abloh "had never done costumes before," Happel said, remembering the designer's enthusiasm to learn from — and collaborate with — him and the NYCB's choreographers for a 2017 performance of "Composer's Holiday." "He was very clear, he was very straightforward. He came up with ideas and we followed through with them."
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""He's great with creating silhouettes, and also with mixing period silhouettes in a way that really works," Happel said of Giles Deacon, whose feathery work is pictured here. "It kind of brings Renaissance details into modern dress details."
""He's great with creating silhouettes, and also with mixing period silhouettes in a way that really works," Happel said of Giles Deacon, whose feathery work is pictured here. "It kind of brings Renaissance details into modern dress details."
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A veiled gown by the designer Gareth Pugh, photographed to show the dramatic effect of its draping in motion. Pugh worked to inject elements of "brutalism" into the ballet world, he explained in the book.
A veiled gown by the designer Gareth Pugh, photographed to show the dramatic effect of its draping in motion. Pugh worked to inject elements of "brutalism" into the ballet world, he explained in the book.
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"All those negative spots where you see their skin, those are places (where) hands grabbed them — a hand around the waist, or something like that," Happel said of designs by Humberto Leon for the NYCB's 2015 Gala. "They very much wanted to accentuate that."
"All those negative spots where you see their skin, those are places (where) hands grabbed them — a hand around the waist, or something like that," Happel said of designs by Humberto Leon for the NYCB's 2015 Gala. "They very much wanted to accentuate that."
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"The sweater underneath the jacket — everything is made to be movable," Happel explained of translating Thom Browne's well-honed school uniform aesthetic for the ballet."The shirt is just a dickie; tthe sweater is just a half sweater. It all kind of snaps together, so it becomes one."
"The sweater underneath the jacket — everything is made to be movable," Happel explained of translating Thom Browne's well-honed school uniform aesthetic for the ballet."The shirt is just a dickie; tthe sweater is just a half sweater. It all kind of snaps together, so it becomes one."
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A gown designed by Sarah Burton of Alexander McQueen, featuring lush floral embroidery and a delicate ombre color palette.
A gown designed by Sarah Burton of Alexander McQueen, featuring lush floral embroidery and a delicate ombre color palette.
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The designer Iris van Herpen "sent me a handwritten letter in a manila envelope, describing what the costumes were with funny little sketches," Happel remembered. "So that was really interesting working with her. And the boot was something that is very debated. People hated it. I loved it."<br />
The designer Iris van Herpen "sent me a handwritten letter in a manila envelope, describing what the costumes were with funny little sketches," Happel remembered. "So that was really interesting working with her. And the boot was something that is very debated. People hated it. I loved it."
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