The union of ballet costume and fashion in the first third of the 20th century

Ballet costume as a representative of the artistic code of the era can be considered in the discourse of mutual in uence with another powerful sphere of visual culture - fashion. It is emphasized that in di erent cultural and historical eras artistic and gurative models can be formed under the in uence of certain dominant factors. For the era of the rst third of the twentieth century, the explosive development of ballet culture in general and aesthetics in particular became a powerful trigger for the introduction of new visual orders and patterns both directly in the theater space and in the spheres of fashion, design, and everyday consumer culture. The greatest in uence on the artistic style of this time was exerted by the experiments of Sergei Pavlovich Diaghilev and the entire numerous creative team of the Russian Seasons. As examples, the work of outstanding masters of the fashion world of the rst third of the twentieth century, one way or another connected with the theater, including ballet, sphere, is analyzed. The work of Paul Poiret, Sonia Delaunay, Coco Chanel and the Paquin Fashion House, as well as Leon Bakst, who collaborated with the artists in the process of creating costumes for ballet productions, is considered. A conclusion is made about the mutual in uence and enrichment of visual strategies and algorithms of two major areas of artistic creativity - ballet and fashion.