Since retiring from her principal post in 2014, the self-taught designer has created costumes for myriad choreographers, including Justin Peck.
Taylor has long had an affinity for fashion. Said Phelan: “It makes me feel like a little sass machine.” A contrast-colored pleated miniskirt is layered underneath. For “American Rhapsody,” Taylor has created a sleek set of jewel tone satin-and-mesh long-sleeved bodices that subtly pannier at the hips. The following week, Phelan appeared more relaxed at the company’s in-house costume atelier, where she and Pippin meet Janie Taylor - a former NYCB principal designing the wardrobe for “American Rhapsody” - for a fitting. The process has probably been quite hard for her,” Wheeldon said. “I’m very demanding and push my dancers to discover qualities in themselves.
I feel so out of place and honored at the same time.” “I was so nervous it took me 15 minutes to pick up any steps. “I was terrified, pure terror,” Phelan said of her first rehearsal for the piece. Her Cavalier King Charles Spaniel Pippin - who accompanies her to most rehearsals - begins to whimper for attention, leaving her even more skittish. As she leaps alongside Ramasar, her nerves spike. In observing an early rehearsal of the piece, Phelan - a Princeton, N.J., native who moved to New York at age 14 to attend NYCB-affiliated School of American Ballet - appeared rattled. While Wheeldon has worked with Ramasar, Peck and Fairchild numerous times (he attended the latter two’s wedding and cast Fairchild as the lead in “An American in Paris,” a role that earned him a Tony nomination), the Englishman hadn’t yet established a choreographic process with Phelan - creating an interesting dichotomy among the cast. “She has incredible leg and footwork, and a great attack - she is very petite and very beautiful, she looks like she would be porcelain until she starts to dance and shows this wild energy.” I had been away from the company for a while and was just astonished by this beautiful new girl with phenomenal energy. Wheeldon feels that Phelan shouldn’t be all that surprised by his decision: “I actually saw her dance the part of the wild horse ‘Estancia’ last season. Its Ballet Master Peter Martins has recently begun incubating new talent by casting a score of corps members in highly prized roles: Her fellow dancers Indiana Woodward, Claire Kretzschmar and Miriam Miller’s careers are also on the rapid ascent.ĭespite this, the dancer said she is utterly confused by Wheeldon’s casting seemingly forgetting the fact that this past winter season saw her debut in seven principal roles - including that of the Sugarplum Fairy in “The Nutcracker” and Jerome Robbins’ “Glass Pieces.” Phelan has found herself at an interesting time in the company’s history. Last year’s Broadway production of “An American in Paris,” which Wheeldon conceived and directed, won him a Tony for best choreography.įor “American Rhapsody,” his first original piece for NYCB’s repertoire in four years, the choreographer has remained in the Gershwin mood - setting the ballet’s rapid tempo to a score that will be well-known to American audiences it is frequently featured in United Airlines commercials. The 43-year-old was named an Officer of the British Empire in January. Wheeldon, NYCB’s former resident choreographer, has since gone on to become something of a rock star in the dance world.
Five more are open in the Middle East through partners and a few concept shops are up and running in Japan.Issey Miyake Dies at 84: A Look Back at the Designer’s Career There are two freestanding Milly stores - one uptown and another in East Hampton. “Very seriously” looking into opening a store in Los Angeles, Smith is also scouting for a second Manhattan location downtown. Smith now has her sights focused on expanding her retail reach and building e-commerce.
It’s also just a great discipline that you carry through your life - hard work, love of music and love of how you move your body is a very passionate art form.” I will alter something down to an eighth of an inch for the right cut, the right angle and the correct reveal of what I want to show. “I carry that discipline into the cut of my clothing. It’s all about the subtle details, the attention to, ‘What if you turned your head a quarter of an inch more this way and how much more elegant is that line?’” she said. “That experience definitely informed my work as a designer even before I met Unity. Smith herself danced as a child for seven or eight years. The designer knows her way around Lincoln Center since her daughter Sophia has performed in the NYCB’s performance of “The Nutcracker” for the past two years. Issey Miyake Dies at 84: A Look Back at the Designer’s Career
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