Paris Opera Ballet La Source - Maison de la France

Quartier Villars
Route de Montilly, 03000 Moulins
Tél. + 33 (0) 4 70 20 76 20 / Fax + 33 (0) 4 70 34 23 04
info@cncs.fr / www.cncs.fr
Press relations
Heymann, Renoult Associées
Sarah Heymann – Eleonora Alzetta
Tel +33 (0)1 44 61 76 76 / e.alzetta@heymann-renoult.com
www.heymann-renoult.com (downloadable documents)
La Source
Paris Opera
Ballet
Press book
Exhibition
From June 16
to December 31,
2012
Press relations: Heymann, Renoult Associées / tel +33 (0)1 44 61 76 76 / e.alzetta@heymann-renoult.com / www.heymann-renoult.com
Moulins Allier Auvergne / www.cncs.fr / 04 70 20 76 20

Contents
Exhibition “Christian Lacroix, La Source and the Paris Opera Ballet” --------------------- p. 3
Editorial by Brigitte Lefèvre, Director of Dance at the Opéra national de Paris -------------- p. 5
The conception of the costumes, by Christian Lacroix, stage costume designer --------------- p. 7
A guide through the exhibition, by Delphine Pinasa, Director of the c n c s ------------------ p. 8
The story of the ballet La Source -------------------------------------------------- p. 11
Curators and artistic direction ---------------------------------------------------- p. 13
The Centre national du costume de scène et de la scénographie -------------------------- p. 14
Around the exhibition ---------------------------------------------------------- p. 16
Weekend package: Return to the sources --------------------------------------------- p. 17
Practical information ----------------------------------------------------------- p. 18
Graphics available to the press --------------------------------------------------- p. 19
The c n c s would especially like to thank the Opéra national de Paris
for its essential contribution to this exhibition, which in itself is homage
to the excellence of this great theatre. The Opéra national de Paris is,
in addition, one of the founding institutions of the c n c s.
La Source
Paris Opera
Ballet
Exhibition
From June 16
to December 31,
2012
The Centre national du costume de scène et de la scénographie continues its collaboration
with Christian Lacroix, following him into the heart of the Opéra national de Paris where
he created the costumes for the ballet La Source, in a choreography by Jean-Guillaume
Bart, Danseur Étoile. These sumptuous costumes embroidered with Swarovski crystals were
worn on stage by the Paris Opera Ballet at the Palais Garnier in the autumn of 2011 and are
presented here in an exhibition organized by Christian Lacroix.
Christian Lacroix, theater costume designer
Chrisitan Lacroix, great fashion designer who has become a designer of costumes for theater, opera
and ballet, created the sumptuous costumes for the ballet La Source, given at the Opéra national
de Paris in the autumn of 2011. This classical ballet, which disappeared from the repertoire of the
Opéra at the end of the 19th century, tells the story of the sacrifice of Naïla, spirit of the source, for
the love of the hunter Djémil and his beautiful Nouredda.
Jean-Guillaume Bart, Danseur Étoile, trained at the School of Dance of the Opéra, had long had
the project to bring this ballet back to life. Brigitte Lefèvre, Director of Dance at the Opéra national
de Paris gave him the occasion to do so, uniting the dramaturge Clément Hervieu-Léger, costume
designer Christian Lacroix and scenographer Éric Ruf to accompany him in this adventure, and
programming the ballet at the Palais Garnier.
These costumes, of refined neo-classical style for the fantasy roles, tinted with orientalism and shimmering
colors for the folk characters, bear witness to the dream world of Christian Lacroix. He spoke
about this during the preparation of the ballet in the costume workshops of the Opéra national de
Paris, saying, “I wanted to give the impression that these costumes, as well as the ballet, had come out of a long
sleep with their freshness and memories intact, and, in addition, to have the rustic aspects contrast with the
opulence of the brocades, ornaments and jewels.”
The ballet is a succession of nymphs in Romantic tutus made of Japanese organza (one of the lightest
fabrics in the world); of odalisques draped in tunics and loose pants made from old saris; of Caucasian
women as “Russian dolls”, in their ethnic dresses, and Caucasian men in coats inspired by
traditional clothing but given new color with the palette of Christian Lacroix. Costumes, hairstyles
and tiaras decorated with Swarovski crystals.
Exhibiton curators: Christian Lacroix, stage costume designer;
Brigitte Lefèvre, Director of Dance at the Opéra national de Paris
and Delphine Pinasa, Director of the Centre national du costume de scène.
Artistic direction: Christian Lacroix
3

Exhibition / June 16 – December 31, 2012
Bringing La Source
back to life
“For Jean-Guillaume Bart, it was necessary to reinvent La Source. When he came to speak to me
about this in 1996 and showed me the libretto, the idea of launching into a reconstruction had already
crossed his mind even though there was no trace left of the original choreography.
A creation is always a history of osmosis between people. It was thus necessary to assemble an artistic
team, a game which I adore playing, for this new ballet. I first invited Christian Lacroix to join us.
We know each other well and he was immediately seduced by the spirit of the project and by Jean-
Guillaume’s involvement. He thought about the famous painting by Degas portraying Eugénie Fiocre,
one of the original performers of La Source.
The association of two artists from the Comédie-Française, another great home of stage arts also counted
for a great deal in this adventure. Clément Hervieu-Léger accepted my invitation and contributed
important dramaturgical support. Éric Ruf designed the sets. He had constructed his own little
workshop in his dressing room at the Comédie-Française, and I find it extraordinary that this actor,
who makes us dream when he is on stage, has been able to develop his other talent at the same time.
La Source is a true artisanal creation in the noble sense of the term, bringing together people who are
at the same time the inheritors of long traditions and who also share the same taste of discovery.
La Source is a typical production of the Opéra de Paris, a link in the 300-year-old chain of the evolution
of ballet. In the studio, the dancers shared a true complicity with Jean-Guillaume, who is one of
them. It was a conversation among them and with themselves, reuniting with the larger history of the
repertoire of the Opéra. It is also perhaps what can be called the French style, a style which should
not be perceived as a closed identity, but rather, as an open one. In a certain sense, this adventure of
La Source leads us back more broadly to the meaning and place of classical ballet in today’s world.
The first series of performances at the Palais Garnier came to an end, carried by the enthusiasm of the
performers and the audience. How to prolong this sharing with the audience, to hold onto this production
of La Source a little longer? Christian Lacroix, in his role as Honorary President of the Centre
national du costume de scène, gave us this occasion. It is for this reason that the Opéra national de
Paris, which along with the Comédie-Française and the Bibliothèque nationale de France, is one of
the founding members of the c nc s, wanted to present the excellent work of its costume workshops
here. The photographs by Anne Deniau and the film by François Roussillon complete the exhibition
and bring their own testimony to the long progression of this adventure.
The costumes by Christian Lacroix were essential partners for the dramaturgy and choreography
of this production. They are part of a musical score, a symphony of colors, a tapestry of shimmering
fabrics, and a subtle harmony of shades which in themselves evoke a world of theatrical illusion.
Sharing their beauty and coming into contact with the work of the costume workshops, will lead the
visitors to this exhibition on one of the roads of the creation of La Source.”
Brigitte Lefèvre
Director of Dance at the Opéra national de Paris
a Costume for Dadjé designed by Christian Lacroix,
Opéra national de Paris, 2011.
© Anne Deniau.
5

Exhibition / June 16 – December 31, 2012
The conception
of the costumes
“I had never heard of La Source before Brigitte Lefèvre told me, several years ago, about the project to
remount the ballet with choreography by Jean-Guillaume Bart. They gave me the file on this forgotten
ballet, which Martine Kahane (then Director of the Cultural Service at the Opera) had worked
on, and this file, with its nymphs, elves and Caucasians, remained buried for several months more.
But fortunately, the genie came back out of his lamp a year later. I listened while Clément Hervieu-
Léger and Jean-Guillaume Bart recounted their latest version of the adventures of Nouredda,
Djémil and Dadjé in front of the extremely inspiring sketches and maquettes by Éric Ruf for his set
project – a forest of thick cords and a velvet palace – which brought to mind certain productions for
ballets by Roland Petit and the Marquis de Cuevas with sets designed by Bérard, Chapelain-Midy,
Clavé and Malclès, which I had seen in the 1950s. I thus worked on this production thinking about
this very “Paris School” period (to my mind one of the summits of French taste) while placing it, of
course, in our times. In addition, I deliberately refrained from looking at what remained of the original
maquettes at the Paris Opera Library-Museum. Starting with these universes, I imagined three
directions: a first proposition with a rather refined inspiration; a second, more neo-classical, between
history and folklore; and finally a third, more elaborate, baroque and ‘Russian’. In addition, I was
very much at ease with the Swarovski ‘patronage’: this Source would shimmer, shine, dazzle. I also
had the challenge of knowing nothing about the choreography which was still developing in Jean-
Guillaume’s mind, but, at the same time of being constantly attentive to his extremely precise directions.
We finally decided on the second solution, with timeless costumes reflecting an updated 19th
century and containing authentic ethnic details. I had at my disposal the costume workshops at the
Palais Garnier, a true couture house, and even more than that since we could work with ideas which
do not exist in the world of fashion: illusion, fantasy and magic. Mirages of silk tulle and liquid brilliance
for the stars; mists of changing colors like impressionist paintings for the elves; trompe-l’œil
of nature and painting for the nymphs; mutation of immemorial patched tweeds with superimposed
incrustations and patinas for the Caucasians; marvels of ancient saris remade with a touch of
Hollywood for the odalisques, etc.
I wanted to give the impression that these costumes, as well as the ballet, had come out of a long sleep
with their freshness and memories intact, and, in addition, with the rustic aspects contrasting with
the opulence of the brocades, ornaments and jewels. There followed several final and short weeks of
work, to adjust Romantic hemlines, illuminated headdresses, diaphanous masses, etc., in relation to
the progression of the rehearsals.
Once the materials were chosen, cut and assembled, the accessories decided upon and the colors finalized,
I permitted myself to look at the 1866 maquettes and was surprised to find that I was very
often close to the costumes of the creation. This reassured me – the music and the argument of the
ballet continue to speak the same language 145 years later.”
Christian Lacroix, September, 2011
a Christian Lacroix in the costume workshops
at the Palais Garnier. © Anne Deniau.
7

8
A guide
through the
exhibition
f
By Delphine Pinasa
Director of the Centre national
du costume de scène
This exhibition is an invitation to discover
the costumes and accessories
created for the ballet La Source, from
their conception by Christian Lacroix
to their creation by the costume work-
a Maquette for Nouredda’s costume.
© Christian Lacroix.
shops at the Palais Garnier and finally
to the staging of the ballet. The scenography
of the exhibition places the costumes
in the context of their creation,
recreating the costume workshops of the
Palais Garnier in the exhibition spaces
at the c nc s. Transported to the heart of
the workshops, the visitor will discover
these places hidden to the general public,
where seamstresses and tailors work
daily in the service of the splendor and
beauty of theatrical productions.
Elements presented
in the display cases
The exhibition presents
the costumes by role,
following the order
of appearance of the
characters in the ballet.
Soloists and groups of
dancers are united in
each display case, where,
Christian Lacroix, La Source and the Paris Opera Ballet
in addition to the costumes, the various
stages of their construction can be seen
through the sources of inspiration, technical
research and artistic choices decided
upon as the production took form:
the documents of inspiration of Christian
Lacroix include a rich iconography
which he likes to assemble and which
he sometimes gives to the heads of the
workshops as models, but also authentic
clothing on loan from the Quai Branly
Museum as well as stage costumes from
the c n c s collections which served as
reference for certain shapes or details
such as the nymphs’ tutus and the Caucasian
men’s coats.
costume maquettes by Christian Lacroix,
who, as always, drawing with great
generosity, offers a large number of propositions
for each role. All the maquettes
were presented to and discussed with
the choreographer Jean-Guillaume Bart
and the costume workshops. They are
the departure point for the realization
of the costumes.
a Maquette for an elf man’s costume.
© Christian Lacroix.
The costume workshops at the
Palais Garnier in a few words…
For the ballet La Source, all the costumes
were made in the costume workshops
at the Palais Garnier where the
work is allocated to different workshops:
the “loose” workshop specializing
in the making of women’s
costumes; the tailoring workshop for
the men’s costumes; the stitch workshop
for stretch elements; the decoration
workshop for jewelry, ornaments,
dye and patina of the costumes; and
the millinery workshop for the hats.
The costumes are made according
to the same techniques used for
street clothing, but creativity, fantasy
and stage sense are indispensa-
a Left: maquette for an odalisque woman’s costume.
© Christian Lacroix.
a Costume for the Khan designed by
Christian Lacroix. © c n c s / Photo Pascal
François.
fabric samples, shimmering colored
saris for the odalisques, ultra-light Japanese
organza for Naïla; rich worked
velvet for the Khan… dye tests for the
costumes of Zaël and the elves; patterns
and tracing cloths for Djémil; the coats
for the Caucasian men; prototypes for
the nymphs’ tiaras; the turbans for the
odalisques, etc.
work documents, sketches, measurement
files and the inventories of the
heads of the workshops… so many
concrete witnesses to the exceptional
know-how of the costume workshops
of this prestigious theater which itself is
honored in this exhibition.
The elements on display come from…
• The Opéra national de Paris: costumes, dressmaking
material, accessories and elements
of the sets for the production La Source.
• The Quai Branly Museum in Paris:
loan of traditional Caucasian costumes.
• The Galliera Museum, fashion museum
of the city of Paris: loan of crinoline dresses
• Swarovski: crystals
• The c n c s : costumes from the collection
a Headdresses for the Khan and
an odalisque decorated with Swarovski
crystals in the millinery workshop
at the Palais Garnier. © Anne Deniau.
ble complementary elements. Many
of the operations are done by hand,
requiring specific know-how and mastery
of technical constraints.
a Fabric choices for costumes by
Christian Lacroix and Jean-Guillaume
Bart. ©Anne Deniau.
Reports from the heart
of the Palais Garnier
The photographer Anne Deniau followed
the elaboration of this production
step by step during several
months: the construction of the sets,
the rehearsals, and most particularly
the costume workshops, where
she captured the complicity of the
work between Christian Lacroix,
Jean-Guillaume Bart, the heads
of the workshops and the dancers.
This photographic report is a new
and unique behind-the-scenes illustration
of costume making at the
Opéra de Paris.
François Rousillons’s filmed interviews
with Brigitte Lefèvre, Jean-
Guillaume Bart, Christian Lacroix,
Éric Ruf and the dancers all bear witness
to their involvement in the creation
of the ballet. These interviews,
as well as the photographic reports of
the costume workshops and makeup
room, plunge the public into the
effervescent and fantastic universe
of a theatre in full-swing preparations
for a large production.
Some exhibition
highlights
The choreography and the sets
Since the costumes are created in
close relationship with the ideas of the
choreographer and with the intent of
being worn in a theatrical space conceived
by the set designer, the visitor
is invited to
discover these
two aspects here.
Jean-Guillaume
Bart communicates
his choreographic
conception with some of
his sketches and work
documents which followed
him through-
Exhibition / June 16 – December 31, 2012
out this creation. The set sketches
and maquettes by Éric Ruf explain
his scenographic project for the sets
of this ballet.
The grand exhibition space
As a finale, the public is invited to “come
on stage”, into the ballet during the
scene where Zaël and the nymphs, suspended
in full flight, have for sole décor
a tree composed of thick cords.
a The elves on stage.
Palais Garnier, 2011. © Anne Deniau.
The Swarovski crystals
Swarovski and the Opéra national de
Paris became partners for the ballet La
Source. Swarovski, specialist in crystals,
has had links with the Opéra national
de Paris for several years. Brigitte
Lefèvre suggested a closer collaboration
for the creation of La Source. Christian
Lacroix and Jean-Guillaume Bart also
agreed with this choice. The Swarovski
collection was presented to Christian
Lacroix who selected a large range of
crystals in many colors and sizes to
decorate the costumes.
a Costume try-on session for an odalisque.
© Anne Deniau.
Made-to-measure models
For the presentation of the costumes,
the models were chosen for their capacity
to reproduce dance movements.
With the help of Jean-Guillaume Bart,
some of them were made to measure
a Left: maquette for a Caucasian woman’s costume.
© Christian Lacroix.
a The Caucasian women on stage.
Palais Garnier, 2011. © Anne Deniau.
from casts of dancers’ bodies in typical
positions from the choreography.
These models were created by Daniel
Cendron, an artist specializing in making
fake bodies.
Exhibition catalogue
“Christian Lacroix, La Source,
the Paris Opera Ballet”
Co-publishers Actes Sud / c nc s
Opening his sketch books for
the ballet La Source, Christian
Lacroix reveals the world behind
the scenes of the creation of
the costumes for this production
performed by the Paris Opera
Ballet at the Palais Garnier
in 2011.
Under the direction of Delphine Pinasa
With contributions by Christian Lacroix,
Brigitte Lefèvre, Jean-Guillaume Bart,
Martine Kahane, Clément Hervieu-Léger
and Éric Ruf.
With the collaboration of
Anne Deniau, photographer
Graduate of Pont et Chaussées and
the Central St. Martins School,
Anne Deniau has worked
regularly with the Opéra de Paris
since 2004. In the world of fashion
she has worked with Alexander
McQueen, John Galliano, Jean
Paul Gaultier and others.
She is currently preparing a book
retracing 13 years spent at the
side of the designer Alexander
McQueen.
Editions Actes Sud / 192 pages
Indicative price: 35 €
ISBN
9782330009946.
Press relations
for the catalogue:
Sophie Patey
s.patey@actes-sud.fr
Tel: +33 1 55 42 14 43
9

The ballet
La Source
f
The original ballet
La Source, a ballet in three acts and four
tableaux, had its premier on November
12, 1866 at the Théâtre de L’Opéra
on rue Le Peletier. It was based on a
libretto by Charles Nuitter and Arthur
Saint-Léon, with choreography by
Arthur Saint-Léon and music by
Ludwig Minkus and Léo Delibes.
It was performed 69 times and left the
French repertoire in 1876 after having
been programmed for the visit of the
Shah of Persia and the inauguration of
the Palais Garnier. Only a few traces
remain of the original ballet: drawings
and maquettes, news articles, stereoscope
photographs, etc. Most were destroyed
during the fire at the Opéra on
rue Le Peletier in October 1873.
La Source was presented in different
versions in many countries, notably
in Russia, in Saint-Petersburg in 1869
(Le Lys, choreography by Saint-Léon);
in Italy, in 1876 (La Sorgente, choreography
by Cesare Marzagora, based
on that by Saint-Léon); in Austria, at
the Viennese court (Naïla die Quellenfee,
choreo graphy by Saint-Léon) in 1878.
The last production, by Violette Verdy
and John Prinz for the New York City
Ballet, dates from 1969.
a Henri Alfred Darjou, poster for
La Source, 1866. BNF-BMO.
© Pascaline Noack.
Exhibition / June 16 – December 31, 2012
Argument of the ballet
By Jean-Guillaume Bart
“On first reading, La Source is a typical
19th century ballet where Romanticism
and the orientalism then in vogue confront
each other, a consequence of travel
accounts by artists and scholars of the
period. However, the most compelling
element here is the relationship between
man and nature. Two worlds are in cohabitation:
the ‘earthly’ world represented
by the Caucasians, the Khan
and the odalisques, and the ‘invisible’
world personified by Naïla, the water
spirit; the elves and nymphs.
In the first world, the characters are
interested in power and riches. The
other world, on the contrary, lives and
evolves with the elements and seasons.
It moves, and breathes imperceptibly, as
do trees. The inhabitants live in unison
and have no ambition. In Romanticism,
nature and its different ‘faces’ have the
power to change human states of mind.
Heroes can come under the fatal spell
of the Willis, but also under that of
Ondine, pure and without malice, who
returns to her aquatic state after trying
to acquire a soul for the love of a man
who will ultimately betray her. In La
Source, nature does not transform itself
into another world which sucks the lifeblood
from the humans. It remains a
place of symbiosis. But Naïla must sacrify
herself, putting the future of her own
world in peril in order for the human intentions
to be realized. Can we not see
here a metaphor for our times? Have
we not abused a nature which has offered
us so many benefits since the beginnings
of time?”
La Source in 2011
By Laure Guilbert
Editor of dance publications for Éditions
at the Opéra national de Paris
“In 1997 Jean-Guillaume Bart proposed
a new adaptation of La Source to
Brigitte Lefèvre and showed her the
original libretto. Brigitte Lefèvre united
a brilliant creative team around him
– Christian Lacroix, Éric Ruf, Clément
Hervieu-Léger and Dominique Bruguière,
but the idea was neither to ‘reconstruct’
La Source, nor to follow the
style of Saint-Léon, nor to work from
original archives. The story is more intimate.
It is the story of a child of this
opera house who became performer,
a Myriam Ould-Braham (Naïla) and
Alexis Renaud (the Khan) on stage. Palais Garnier, 2011.
© Anne Deniau.
Étoile, then teacher and choreographer
– a choreographer who cultivates with
passion his attachment to the classical
universe. It is the story of a lover of the
dance who has made his experience
into a long odyssey to the near and far
territories of his art. When he was very
young, the perfume of La Source enticed
him through the music of Delibes and
Minkus, and, in fact is still with him
today. Taking the original libretto as
inspiration and infusing it with questions
of our times, he has proposed a
new creation, marked by the idea of a
voyage through the places of memory
represented by this ballet which had
vanished from, and then reappeared
in the repertoire.”
Creation of the costumes and sets
The costumes were made between January
and October 2011 in the workshops
of the Opéra national de Paris and
the sets created by Eric Ruf, Societaire
of the Comédie-Française, were made
starting at the end of 2010.
The ballet on stage
Rehearsals started on September 5,
2011 in the Studio Lifar at the Palais
Garnier. The first performance was
on October 22 and was followed by
18 additional performances at the Palais
Garnier, with the last on November
12, 2011.
Creation
Orchestra of the Opéra national
de Paris
Musical direction: Koen Kessels
La Source
Ballet in two acts and three tableaux
Libretto based on the orignial
by Charles Nuitter and Arthur
Saint-Léon
Music: Léo Delibes, Ludwig Minkus,
in a version by Marc-Olivier Dupin
Choreography: Jean-Guillaume Bart
Sets: Éric Ruf
Costumes: Christian Lacroix
Lighting: Dominique Bruguière
Dramaturgy: Clément Hervieu-
Léger, Jean-Guillaume Bart
Brigitte Lefevre and Jean-Guillaume Bart’s
texts (Interviews by Laura Capelle and Laure
Guilbert), are from the ballet La Source’s
program, Opéra national de Paris, 2011-2012.
11

Curators
and Artistic
direction of
the exhibition
f
Christian Lacroix
Artistic director
He lives and works in Paris and Arles,
where he was born. After studies in classical
literature and art history, he could
not picture himself as artist, teacher or
museum curator, and took the direction
of fashion and costume, with Hermès
and then Guy Paulin in Paris, Italy and
Japan. He was artistic director at Jean
Patou from 1982 to 1987 before Bernard
Arnault founded the house of Christian
Lacroix. At the same time, he designed
costumes for many theater, opera and
ballet productions in France (Opéra
national de Paris, Comédie-Française,
Opéra-Comique, Festival d’Aix, Marseille)
and abroad (la Monnaie in Brussels,
the Metropolitan Opera in New
York, the Vienna and Berlin Operas).
At the Opéra de Paris he designed costumes
for Cendrillon (P. Maxwell Davis,
1986), Les Anges ternis (K. Armitage,
1987), Jewels (G. Balanchine, 2000),
Shéhérazade (B. Li, 2001). Since 2000
he has worked as a more industrial designer
(t g v, hotels, Gaumont cinemas)
and as scenographer of his own work:
Centre national du costume de scène;
Fashion Museum and Decorative Arts
Museum, Paris, in 2007; the Réattu Museum
and Rencontres d’Arles in 2008
– activities which have become preponderant
since the recent end of his activities
as fashion designer. His projects in
2012: Adrienne Lecouvreur at the Frankfurt
Opera (Germany), Peer Gynt at the
Comédie-Française (Paris), Salomé at
the Saint Gall Opera (Switzerland), Le
Bourgeois Gentilhomme at the Bouffes du
Nord (Paris) and Madame Butterfly at the
Hamburg Opera (Germany).
Exhibition / June 16 – December 31, 2012
Brigitte Lefèvre
Curator
Brigitte Lefèvre entered the School of
Dance at the Opéra de Paris at the age
of 8, and was hired as dancer in the ballet
corps when she was 16. In 1970 she
choreographed her first ballet, Mikrocosmos
(with music by Bartok), for Jacques
Garnier, Michaël Denard and herself.
She left the Opéra in 1972 to found, with
Jacques Garnier, the Theatre of Silence,
based in La Rochelle from 1974 to 1985.
She was hired as Chief Dance Inspector
(Department of Music and Dance at
the Ministry of Culture) in 1985, and
in 1987 became General Inspector and
the first Dance Delegate. In September,
1992 she became General Administrator
of the Opéra de Paris-Garnier, then
in February, 1994, Adjunct-Director of
Dance. On July 1, 1995 she was named
Director of Dance at the Opéra national
de Paris. Since her nomination, Brigitte
Lefèvre has constructed a living repertoire
which joins the past, present and
future. While giving an important place
to tradition and maintaining the great
classical ballets – and in particular the
productions by Rudolf Nureyev – she
regularly programs choreographies
which have marked the 20th century,
and invites contemporary choreographers
to remount ballets or to create
new ones. Brigitte Lefèvre is Vice
President of the National Conservatory
of Music and Dance of Paris and Administrator
of the Théâtre national de
Chaillot. She is Commander in the National
Order of Merit; Commander of
Arts and Letters and Officer in the Legion
of Honor.
Eric Ruf
Sets
After studying at the École Nationale
Supérieure des Arts Appliqués et des
Métiers d’Arts Olivier de Serres (Applied
Arts and Art Trades), at the École
a Costume for a Caucasian woman designed by Christian Lacroix.
© c n c s / Photo Pascal François.
Florent and at the National Conservatory
of Dramatic Arts, he joined the
Comédie-Française in 1993 and became
the 498th Sociétaire in 1998.
Parallel to his career as theater, cinema
and television actor, he is a stage director
and set designer.
As designer-scenographer, he has created
the sets for Cyrano de Bergerac (Edmond
Rostand), Fantasio (Alfred de Musset),
La vie du grand Don Quichotte et du gros
Sancho Pança (Antonio Da Silva) and
Loup (Marcel Aymé) at the Comédie-
Française; for Mental de l’équipe (Émmanuel
Bordieu) at the Théâtre du
Rond-Point; for Fortunio (Messager) at
the Opéra-Comique and for La Didone
(Cavalli) at the Théâtre de Caen.
He received the Gérard Philippe Prize
from the city of Paris in 1999, is Chevalier
in the Order of Arts and Letters,
and received the Molière prize for set
design and for supporting male role in
Cyrano de Bergerac in 2007.
Delphine Pinasa
Curator
Delphine Pinasa succeeded Martine
Kahane as Director of the Centre national
de costume de scène in August,
2011. An art historian, specialist in stage
costumes, and formerly Delegate Director
of the CNCS, she worked for the Victoria
and Albert Museum in London,
the Ministry of Culture and Communication,
and then at the Opéra national
de Paris from 1993 to 2003, where she
was first in charge of the costumes in
the museum collection, and then head
of the Costume Patrimony department
beginning in 2001.
Since 2005, with the exhibition Rouge at
the Paris Opera Library-Museum, she
has collaborated regularly with Christian
Lacroix.
Delphine Pinasa has curated many
exhibitions in France and abroad and
has published many works in relation
to these exhibitions, including the history
of the costume workshops at the
Palais Garnier.
13

14
The Centre
national
du costume
de scène
et de la
scénographie
f
In brief
The c n c s opened in July 2006 in
Moulins in Auvergne and is the first
conservation centre in France or abroad
entirely devoted to material theatrical
heritage. It has become a place not to
be missed for all lovers of theater arts
and fashion. After appearing in their
final productions at the Opéra national
de Paris, the Comédie Française and
numerous other theater companies, the
a In the reserves at the c n c s.
© c n c s / Photo Pascal François.
© c n c s / Photo Jean-Marc Teissonnier (Ville de Moulins)
Christian Lacroix, La Source and the Paris Opera Ballet
costumes arrive at the center for a second
life during which they will never
again be worn but will be conserved,
studied and exhibited. The visitor to
the c n c s is thus invited to plunge backstage
into the heart of the greatest theaters
and opera houses, where theatrical
productions are born.
a Costume’s preventive conservation.
© c n c s / Photo Pascal François.
The collections
The c n c s conserves the most prestigious
collections in the world, on deposit
from its three founding institutions
– the Bibliothèque national de France,
the Comédie-Française and the Opéra
national de Paris – as well as costumes
donated to the c nc s by costume designers,
theaters, theater and dance companies,
artists and their families.
Today, more than 10,000 costumes and
accessories are conserved in the ultramodern
reserves of this 18th century
cavalry barracks: the costumes worn
by Maria Callas in Norma in 1964, Jean
Marais’s armour in Britannicus in 1952,
the tutus by Christian Lacroix for Les
Anges ternis in 1987, the costumes by
Philippe Découflé for the Olympic
Games in Albertville in
1992 and many more. The
most beautiful theater costumes
of all periods and styles
come back to life at the c n c s
through thematic exhibitions
with scenography by some of
the greatest people working in
theater today. The most famous artists
wore these prestigious costumes, and
the most famous French designers created
them. Connoisseurs will recognize
the labels of Christian Lacroix,
Thierry Mugler, Jean Paul Gaultier,
Frank Sorbier and many others.
Costume conservation
When the costumes are not being exhibited
they are conserved in the vast
reserve area designed by the architect
Jean-Michel Wilmotte.
With an area of 1,700 square meters, this
building contains conservation areas on
the ground floor and three floors of costume
storage. The costumes, installed
in “compactus” units, or rolling closets,
are protected from light at a temperature
of 18°C and with a hygrometric
rate of 50%.
An example of cultural
decentralization
Six years after its opening, the c nc s has
won the wager of cultural decentralization
and has surpassed its initial objectives
concerning frequentation, with
more than 80,000 visitors per year. It
has an exceptional worldwide reputation
with museums, theaters, and dance
and opera companies, and has created
networks in education, research and artistic
creation. The success of the c n c s
exhibitions has gone far beyond the
borders of France thanks to their foreign
travels. “Bêtes de scene” was presented
in Madrid, “Rudolf Nureyev”
in Saint-Petersburg, and “Christian
Lacroix, costume designer” has travelled
around the world from Singapore
to São Paulo, making the c n c s an international
reference.
Projects
An exhibition going abroad
The exhibition “Rudolf Noureev, la
trame d’une vie” (“Rudolf Nureyev,
The Material of a Life”) which the c nc s
opened to the public in November, 2009
will be presented in the autumn of 2012
at the De Young Museum in San Francisco.
The De Young Museum wants
to give more valor to its textile department
and contacted the c n c s in order
to benefit from its know-how and exhibition
themes. This Nureyev exhibition
already travelled to the Museum
of Theatrical Art in Saint-Petersburg
during the summer of 2010.
Coming up…
Exhibition “Les Habits du Pouvoir”
from January to May, 2013
From Olympian gods to sovereigns
anointed by God; from saber to aspergillum;
from the Republic to dictatorships…
the exhibition will show
how stage and cinema have treated the
representation of power, from a simple
evocation to the faithful reconstitution
of famous portraits of rulers. Curators:
Noëlle Giret and Martine Kahane /
Scenography: Alain Batifoulier and
Simon de Tovar
An exhibition on the theme
of the circus
from June to December, 2013
In partnership with the Bibliothèque
nationale de France (Department of
Theater Arts)
The Board of Directors
Chairman: Thierry Le Roy,
Councillor of State
Honorary President: Christian Lacroix
The c nc s
Delphine Pinasa: Director
Vincent Foray: Administrator
Exhibition / June 16 – December 31, 2012
Exhibitions presented
at the Centre national
du costume de scène
since its opening
L’envers du décor
à la Comédie-
Française et à
l’Opéra de Paris
au x i x e siècle
January 28 –
May 20, 2012
L’art du costume
à la Comédie-
Française
June 11 –
December 31, 2011
Les Insolites,
Formes et matières
des costumes de
scène January 29 –
May 15, 2011
Event of 2013
Vestiaire de Divas
June 5 –
December 31, 2010
Opéras russes,
à l’aube des Ballets
Russes
December 12, 2009 –
May 16, 2010
Rudolf Noureev,
la trame d’une vie
May 8 –
November 11, 2009
Opening of the Rudolf Nureyev
Memorial Space
On his death on January 6, 1993, Rudolf
Nureyev left an important collection
of documents, objects, furniture,
art objects and costumes from his private
life and his activity as dancer and
choreographer. In 2008 The Rudolf
Nureyev Foundation made a gift of this
collection to the c nc s to create a memorial
space open to the public in the
Quartier Villars on a permanent basis.
Au fil des fleurs,
scènes de jardins
December 6, 2008 –
April 19, 2009
Costumes des
Mille et une Nuits
May 17 –
November 11, 2008
Jean Paul Gaultier
– Régine Chopinot :
Le Défilé
December 1, 2007 –
April 27, 2008
Christian Lacroix,
costumier
June 3 –
November 11, 2007
J’aime les
m i l it a i re s !
January 20 –
May 13, 2007
Théodore
de Banville
et le théâtre
November 11 –
January 7, 2007
Bêtes de scène
July 2 –
November 5, 2006
The scenographer Ezio Frigerio, who
collaborated during many years with
Rudolf Nureyev, became a close friend,
and designed his tomb at the cemetery
in Sainte-Geneviève-des-Bois, has been
entrusted with the scenography of this
permanent exhibition space.
The project is included in the Plan
Musées 2011-2013 of the Ministry of
Culture and Communication. Opening
is planned in 2013, the twentieth anniversary
of Nureyev’s death, and will
certainly help to confirm the popularity
of the Center in years to come.
15

16
Around the
Exhibition
f
Visits
Individual Visits
Daily: 10 am – 6 pm from June 16 to
December 31; 10 am – 7 pm in July and
August. Closed on December 25
Guided tours
Guided tours at 2.30 pm and 4 pm on
Saturdays and Sundays and daily during
school holidays.
Discovery Visit
Specially adapted for children ages 7
and up, accompanied by at least one
adult. 2.30 pm on Tuesdays and Saturdays
during school holidays.
a The façade of the c n c s. © Marc Luczak.
Playing with the exhibition
For children ages 7 and up, a treasure
hunt through the exhibition, for a playful
introduction to the museum: 2.30 –
4 pm on Wednesdays.
Workshop Visits
For children ages 4 and up accompanied
by at least one adult. An interactive
discovery visit followed by an
artistic workshop for the whole family,
with a changing theme for each
visit: Thursdays during school holidays,
4 – 6 pm.
Adult Group Visits
With a lecturing guide. Open to groups
(minimum 10 participants). Reservation
required. Visits available in foreign
languages (English, Italian) by appointment
and subject to availability. Further
information: groupes@cncs.fr
Christian Lacroix, La Source and the Paris Opera Ballet
School and other groups
Organized tours specially designed to
enable groups to actively discover the
exhibitions. For school groups as well
as others – adults and children – who
wish to have specific support. Further
information: pedagogie@cncs.fr
Educational activities
Workshops for adults, teenagers
and children
Organized and coordinated by professionals.
To discover the great variety of
artistic activities associated with the
performing arts and the themes of the
exhibitions: textile decoration, drawing,
embroidery, painting, sculpture,
music, collage, theater, dance…
Individuals
On Saturdays from September to
De cember: weekly 2-hour drawing
workshop. During school holidays on
Tuesdays, Wednesdays and Fridays:
day-long workshops to discover or perfect
an artistic activity with a performing
arts professional. For individuals or
to share with family or friends.
School and other specific groups
An educational handbook is available
on request or at www.cncs.fr. Teachers
and coordinators are welcome to
come to the c n c s to prepare a visit, or
to create and organize a specific project.
Visits and workshops can be adapted.
Reservations and further information:
pedagogie@cncs.fr
a Drawing workshop. © c n c s / Pascal
François.
a The c n c s Documentation Center.
© c n c s / Christine Pulvéry.
The Documentation
Center
The Documentation Center is dedica
ted to the general history of the
performing arts and theatrical professions,
stage costumes and fashion; a
vast range of works related to the temporary
exhibitions is also available to
the public. It is also a place of pleasure
and leisure for all theater, opera, ballet,
costume and fashion lovers. A selection
of books and videos on opera,
ballet and theater is available. Open
to the general public from Tuesday to
Friday, 10 am – 12.30 pm and 2 pm –
6p m. Further information:
documentation@cncs.fr
Films
In the auditorium
Continuous projection of documentary
films. Films are selected in relation
to the exhibition on view.
Weekend
package:
Return to
the Sources
f
From the costumes
by Christian Lacroix
to the calming waters
of Vichy…
To prolong the visit of the exhibition
“Christian Lacroix, La Source and
the Paris Opera Ballet”, the c n c s has
joined with the Vichy Spa Hotel Les
Célestins**** and with the Allier Tourist
Board to create a weekend package:
Return to the Sources.
a Town Hall Square in Moulins. © dr
Day One
Dance and high fashion in Moulins
around the exhibition “Christian
Lacroix, La Source, and the Paris
Opera Ballet”
a Arrival late morning in Moulins,
capital of the old Bourbon Duchy, city
of Art and History
a Lunch at the restaurant decorated
by Christian Lacroix of the Centre
national du costume de scène
a Guided tour of the exhibition
a Gourmet pause at the Grand Café
in Moulins, one of the most beautiful
Art Nouveau cafés in France,
often frequented in her time by
Coco Chanel
a Departure for Vichy, queen
of spa cities
a Dinner at the N3 and night spent
in Vichy.
Exhibition / June 16 – December 31, 2012
© Joël Damase
Day Two
Relaxation at the Sources in Vichy
Day of discovery of Vichy and access to
the Vichy Spa Les Célestins****. This
exceptional spa covers an area of 7,500
square meters and is devoted to beauty,
health and well-being. On the program:
sauna, hammam, thermal baths
and cardio-training room… all the benefits
of the waters of Vichy in a privileged
environment!
a Morning access to the Spa and the
restorative treatments offered there
a Lunch at the Célestins
a Shopping (the shops are open
on Sundays, many luxury brands),
or time to visit the Art Deco
architecture in Vichy, the Parc des
Sources and the Promenades of the
Allier Lake.
a Departure late afternoon
Places to visit in the area:
a The Allier Department contains
more than 500 chateaux
a Vichy Pastilles factory
a Saint-Pourçain wine tastings
a Vichy: its Art Deco architecture
and its shops open on Sundays
© Fabrice Vallon
Vichy,
queen of spa cities
One of the most beautiful spa towns in
Europe, Vichy has much to offer besides
the proven virtues of it springs.
Surrounded by breathtaking countrysides,
it also offer an impressive array of
cultural, sports, leisure and sightseeing
attractions… and all of this only half
an hour by train from the c nc s.
Rates
328 € for two (164 € per person)
Price based on two people in double
room occupancy.
Two days and one night.
Offer valid from May 1 to
November 1, 2012 except Sunday
nights. No restrictions in July
and August.
Allier resa: tel +33 (0)4 70 46 81 60
www.allier-tourisme.com
© Fabrice Vallon
June 19 and 20:
Organization of a special trip for
journalists in order to publicize this
offer. Contact: Anne-Laure Bucelle,
communications officer at the cn c s :
albucelle@cncs.fr;
tel: +33 (0)4 70 20 76 19
17

18
Practical
information
f
Centre national du costume
de scène et de la scénographie
Quartier Villars, Route de Montilly,
03000 Moulins
Tel: +33 (0)4 70 20 76 20
Fax: +33 (0)4 70 34 23 04
info@cncs.fr / www.cncs.fr
Exhibition opening hours
From June 16 to December 31, 2012
The c nc s is open every day from
10 am to 6 pm, and to 7 pm in July
and August.
Closed on December 25
The c nc s will close at 4 pm on
December 24 and 31.
Entrance fees
Full rate: 6 €
Reduced rate: 3 € (for visitors aged
12-25, the unemployed, RSA and
other aid recipients, and groups
of 10 and more)
Free entry (except for groups) for
children under 12 accompanied
by an adult; disabled visitors
and accompanying persons
Supplement for guided visit:
5 € per person
Group fees
(10 or more people)
Unaccompanied visit: 3 € per person
Guided visit: 60 € per group
plus 3 € per person
(maximum 30 people)
Fees for school groups and others
Unaccompanied visit: 3 € per person
Guided visit: 80 € per group
(maximum 25 people)
Guided visit and workshop: 160 €
per group (maximum 25 people)
Workshop: 100 € per group
(maximum 25 people)
Annual membership
Permanent access to the exhibitions,
reduced fees for accompanying
guests, reduced entrance fees to
participating institutions and many
other advantages.
Full rate: 20 €
Reduced rate: 10 €
Christian Lacroix, La Source and the Paris Opera Ballet
Friends of the c n c s
The Friends of the c n c s brings
together amateurs of decorative arts,
fashion, design and theater to insure
that the museum is well-known
in France and abroad.
Contact: amis@cncs.fr
Documentation Center
Free entry. Open to the general
public from Tuesday to Friday:
10 am-12.30 pm and 2 pm-6 pm.
Further information:
documentation@cncs.fr
Facilities for rent
A 100-seat auditorium, restaurant
with catering service and many
meeting rooms are available
for rental. Further information:
Jean-Sebastien Judais
jsjudais@cncs.fr
Reservations
General public and other
group visits : groupes@cncs.fr
Youth and educational activities:
pedagogie@cncs.fr
© c n c s
The Café-Brasserie
Welcoming, tailor-made service
for lunch, cocktails and dinner or
for morning and afternoon snacks.
Wi-fi access. Shaded terrace.
Decoration by Christian Lacroix.
Open from 11 am to 6 pm.
Closed Monday but open daily
during Zone A school holidays.
For information and reservations:
+33 (0)4 70 20 76 20
lerestaurant@cncs.fr
Couverture :
Maquette for Naïla’s costume designed by
Christian Lacroix in the ballet La Source,
Palais Garnier, 2011. © Christian Lacroix.
Conception : Atalante-Paris
© c n c s / Photo Christine Pulvéry
Bookshop-Boutique
Books, objects, educational games,
textile items, ideas for presents,
dv d /cds, postcards and catalogues.
Special children’s section. Free
access during c nc s opening hours.
Further information: www.cncs.fr
Access
On-site parking for cars
and tour buses; easy access.
Access map available on www.cncs.fr
Paris
A71 Moulins
Lyon
Clermont-Ferrand
Bordeaux
Marseille
Access for the disabled, wheelchair
accessible areas; wheelchairs available
at reception with advance reservation.
Special advice is available to help plan
group visits for the disabled. Further
information: pedagogie@cncs.fr
Tourist information
Moulins Tourist Office
(Office de tourisme de Moulins)
Tourism in Moulins and in the
Bourbon country; discovery
weekends including visits to the c n c s
organized by the Moulins Tourist
Office. www.pays-bourbon.com
Tel: +33 (0)4 70 44 14 14
Allier Tourist Board
(Comité départemental du tourisme
de l’Allier) www.allier-tourisme.com
Tel : +33 (0)4 70 46 81 50
Auvergne Region Tourist Board
(Comité régional de développement
touristique d’Auvergne)
www.auvergne-tourisme.info
Tel : +33 (0)4 73 29 49 46
Vichy Spa Hôtel Les Célestins****
111 bd des États-Unis
03200 Vichy
www.vichy-spa-hotel.fr
Tel: +33(0) 4 70 30 82 00
Graphics available
for the press
f
Costume try-on session in the
presence of Brigitte Lefèvre
and Christian Lacroix. Palais
Garnier, 2011. © Anne Deniau.
Fabric choice by Christian
Lacroix for the costume
of a Caucasian woman.
© Anne Deniau.
The nymphes, Palais Garnier, 2011.
© Anne Deniau.
Fabric samples of saris for the
odalisques and headbands for the
dancers. © Costume workshops
of the Opéra national de Paris.
Christian Lacroix and Valentine
Colasante, costume try-on for
a nymph. © Anne Deniau.
Maquette for a Caucasian
woman’s costume.
© Christian Lacroix.
Costume try-on session for
an odalisque in the presence
of Jean-Guillaume Bart. Palais
Garnier, 2011. © Anne Deniau.
The façade of the c n c s.
© Marc Luczak.
Exhibition / June 16 – December 31, 2012
Alexis Renaud (the Khan),
Charline Gizendanner (Dadjé)
and the odalisques. Palais Garnier,
2011. © Anne Deniau.
Isabelle Ciaravola and
Christian Lacroix, costume
try-on for the role of
Nouredda. © Anne Deniau.
Alessio Carbone (Zaël).
Palais Garnier, 2011.
© Anne Deniau.
Fabric samples for a Caucasian
man’s costume. © Costume workshops
of the Opéra national de Paris.
Tutu for a nymph in
the costume workshops
at the Palais Garnier.
© Anne Deniau.
Myriam Ould-Braham (Naïla)
and Alexis Renaud (the Khan).
Palais Garnier, 2011.
© Anne Deniau.
The Caucasian’s women.
Palais Garnier, 2011. © Anne Deniau.
Fabric choices for the costumes by
(from left to right) Xavier Ronze,
Jean-Guillaume Bart, Christian Lacroix
and Michel Ronvaux. © Anne Deniau.
Main staircase at the c n c s.
© c n c s / Photo Christine Pulvéry.
Downloadable documents at
www.heymann-renoult.com
Tutu for Naïla, Christian
Lacroix. © c n c s / Photo
Pascal François.
Costumes for Dadjé and an
odalisque in the costume
workshops. Palais Garnier,
2011. © Anne Deniau.
Making of tiaras with Swarovski
crystals for the nymphs, Christian
Lacroix. © Anne Deniau.
Dyeing of a Caucasian man’s costume.
© Anne Deniau.
In the reserves at the c n c s.
© c n c s / Photo Pascal François.
19