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When
she was dancing in Cairo for the first time, the advantage
of having original costumes was more important than ever. She
was performing the sword dance and now was the time to find ethnic
materials in the Souk and design new work. The fashion was for
beaded fringe to the knee. Most of the skirts were full circular
with masses of sequin trim. This was the era of the palette,
sequin motifs, and fringe everywhere. Performing six nights a
week and several shows a night meant that about four costumes
a night were needed to change two times for each show with the
tableaux. It was necessary to employ a dresser to carry the suitcase
and manage the changes. Most of the Egyptian dancers wore a stomach
net, it was not compulsory, only Hanan bared her stomach
as well as Asmahan. This was a very liberal and progressive time
in Cairo, a dancer could show her legs and midriff with no problem
from the Adeb. Most people thought Asmahan was a new upcoming
Egyptian dancer because she looked liked an Egyptian.
Returning
to London after a year and a half, the fashion turned
to lace and frills. The Egyptian dancers were more infulenced
by European glamour and the Parisain couture style more
apparant in the stage wear. More fine fabrics were being used,
like lace embroideries, silk chiffon glitter prints, lame, and
sequin embroideries. Asmahan was making a collection to go to
Tunis for six months and included leopard, pearls, and
a mermaid style. This was a very French influenced area and the
high fashion look was very successful.
After
10 years of professional dancing six nights a week, the time
was right to draw on the experiece from the stage, the contacts
in the Middle East and the talents of her friends to produce
a film. Asmahan had always been interested in the evolution of
the dance, and used costume designs from many different periods
of history. Now she wanted to use this knowledge and create a
fantasy film conjuring up the romantic images that are associated
with Egyptian Dance. The format would be rock video with with
the pictures cut on the beat, with many costume changes and using
historical themes. They would include Pharonic, Ottoman Harem,
Bedouin, Modern Raks Sharqi, Isis of the Future, and Folklore.
Costumes would be researched and made for all these themes by
Asmahan.
Again,
Asmahan returned to Cairo to work the summer season at
the Ramses Hilton Hotel. Ofcourse this meant designing
and making fabulous costumes. This was the era of Dina,
and thoubs by Hafez. The styles were very flamboyant with
no fringe, amazing combinations of fabrics, some knee length
skirts, tight wrap skirts with one leg showing, beautiful embroidery
beadwork, and many more costume changes. Most dancers changed
at least four times, some even six or eight.
Dancing
once again in London, the style was influenced by Lebanese
designer, Waseif. This was Indian influenced lavish
beadwork, in Arabian Nights themes, with headresses, cuffs
and armbands all matching. Lovely full chiffon skirts were back
in fashion in gorgeous colors to compliment the extravagant beadwork.
Once
more Asmahan was contracted to dance at the Ramses Hilton
and this time the fashion was for stretch fabrics, body clinging
cut-out dresses with sequin embroidery, and feather boas. The
colors were neon, there was no fringe and bad taste was evident
everywhere. She avoided all the "styles" of the moment
and used her own designs. This included a white pleated tight
dress with Pharonic beading on the straps and belt, leopard lame,
snakeskin sequin with halter strap bra with gloves, and all the
traditional coins and asute for the sword dance.
Costumes
today are still creating a sensation and are a hot topic of discussion
with all dancers. Most articles about a dancers performance will
include a description of her costume and some critique about
it. The costume is still an instrument which enhances or detracts
from a performance, it allows the dancer to create her own image
and leave a lasting memory with the audience. |
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