Beautiful wear and tear

Awhile back, I began a daily practice.

I didn't know I was starting one at the time, but it has stuck with me

and I sheepishly admit [to those not as fond of the internet]

I find a lot of wonders with this particular practice.

~ Blue-stripe jacket, The Royal Swedish Ballet ~

I don't sketch anymore.  Not in the traditional form of the word anyway.

I research pictures.

I fill my eyes and mind with images, wherever my imagination leads in the moment ...

for about an hour each day, I follow threads and links and references,
immersing myself in a subject or direction
until it feels like my brain has been plugged in.

May seem an odd way to do Morning Pages,

but I can't resist being devoured by inspiration this way.
It's my own idiosyncratic version of stream of consciousness writing ...
I just follow pictures instead of words across a page.
[ with apologies to Julia Cameron ]

~ Rubies Hem, New York City Ballet ~

And that brings me to today's discovery ...

the stunning work of photographer, Carin Ingalsbe.

~ 1890 Taupe Silk Robe, Paris Opera Ballet ~

Now, it is one thing to fall head over heels for someone's photographic abilities and/or vision, 

but it is an entirely different matter when, in addition, 

their subject matter rocks your very soul.

Few things in life are more poignant to me

than worn & tattered clothing ...

What you see here are pieces from her series on ballet costumes. 

Referring to this work, Ingalsbe says, in essence,

they are portraits.

"The costumes range in age from 60 years old,

at their youngest, to pieces that date back to the 1700's.

The wear and tear of the costumes has been a centerpiece

of my portrayal of them. Their deterioration through use,

like African art, is evidence of the number of hands

through which these garments have passed over time.

From its inception, each costume was created

with the understanding that the final vision of the designer

will only exist until the first dancer puts it on.

The struggle between visual design and functionality

starts at once as the wardrobe master and mistress

stand off-stage taking notes about the things that fall off

or tear during performance. The destruction of the garment

begins, and from that point on

it becomes a living and ever-changing object

that morphs through the brilliance and talent of others."

~ from her biography at Lanoue Fine Art HERE ~

..." a living and ever-changing object" ... yes, this is EXACTLY the sentiment,

the best description of what interests me about 

[stitching, dyeing, reassembling, remaking, embellishing]

previously worn -- and worn -- clothing & textiles.

~ Citizen of Verona, Boston Ballet ~

Please note: the links below each photo will take you directly to Ingalsbe's website

where detailed close-ups are paired with the main photos ...

her Vintage Clothing Collection  contains even more beauties with

"broken parts."

~ Sugarplum Fairy Green, New York City Ballet ~

~ Red Spanish, The Royal Swedish Ballet ~

"The journey that a costume takes is a singular road

that cannot be duplicated.  Because the costumes

are threadbare and torn, they are, by definition,

spent.  My desire to reveal the value of each piece by

rediscovering its pedigree is one that I hope

comes through my work. The evidence of use that each 

costume has sustained is the very thing

that makes it worth considering."

~ Cut Velvet Coat, The Royal Swedish Ballet ~

"Sometimes the soul of the piece is revealed by 

turning it inside out

or backward."

~ Yellow and Black Corset, c. 1860-1870, The Royal Swedish Ballet ~

Broken and loose beads ...

~ Metallic Button Jacket, The Royal Swedish Ballet ~

tarnish, discoloration and stains ...

~ Rust Jacket, The Paris Opera Ballet ~

splitting their seams.

Once worn  with  perfection,
now aged  to  perfection.
Breathtaking.

Such worthy subjects for portraiture,
wouldn't you agree?