In the spring of 2013 Josh Ben-Tovim and Rosanna Anderson, co-directors of Impermanence Dance Theatre, were in Barga speaking with Keane about performing during the Jazz Festival in August.
They asked if there was anyone locally with whom they could work on costumes and he suggested Kerry Bell. We met and discussed ideas and philosophy and decided to make contact again in the summer. Through emails and a meeting close to the performance date the details were ironed out with great ease and costumes created.
In keeping with the provocative theme put forth by the Impermanence Dance Theatre: “What is the one story that needs to be told today about being a Wo/Man” the costumes were designed to represent the multidimensional, strong and feminine.
Eleanor is in a deep blue silk charmeuse bias cut sheath with deconstructed cowl neckline, 3/4 length sleeves and asymmetric hem.
Pat is wearing a cream silk crepe de chine bias cut backless slip dress, with cowl neckline and asymmetric hem
Roseanna is in a full length dress with blood red shot silk shantung bodice with halter neckline and low back, and blood red silk organza skirt. Accessorised with blood red distressed velvet train and red/black shot silk sheer organza veil.
An inspiration for the fabrics used comes from the knowledge that Barga has had a spacial relationship to silk manufacturing for centuries as expressed in the inscription on the plaque which hangs at Piazza Ser Barghesano:
“In the echo of the footsteps of Ser Barghesano, inventor in 1272 of the hydraulic silk spinner, alternates the rhythm of the beaters of the expert handloom weavers of silk, wool and hemp, resounding through the centuries to the present day from the semiobscurity of the basements of the houses of the via del Pretorio leading to the millennial Duomo.”
The fabrics chosen are appropriate in quality and colour if not style.
The silks and velvet used are sometimes deconstructed, ripped and left unfinished, for the beauty of fluidity and their draped effects.
The relevance of the fabric follows if we agree that Barga’s silk manufacturing lasted from the 12th C. to perhaps the late 16th C. and we can assume that the fabrics and colors shown in portraiture in the latter part of this period were the opulent silks and velvets in the deep, highly saturated colours of Bronzino, for instance, which are representative.
Kerry Bell – Rosanna Anderson – Josh Ben-Tovim
