As seen in a previous post, religious celebrations can be inspiring to make fashion and even costume connections.
Today, for example, the Roman calendar remembers the Martyrdom of St. John the Baptist.
According to the tradition, John the Baptist, sent to prepare people for the arrival of Jesus, publicly criticized King Herod Antipas for his unlawful marriage to Herodias, his brother's wife. This eventually led to his arrest.
Herod's feelings towards John the Baptist were somewhat ambivalent. Herod respected John as a holy man and a prophet. He recognized that John was a righteous and godly person, but was perplexed by John's preaching and his call for repentance.
During a banquet, Herodias' daughter, Salome, danced for Herod and his guests, pleasing him greatly. As a reward, Herod promised to grant her any request. At her mother's urging, Salome asked for the head of John the Baptist on a platter. Reluctantly, Herod ordered John's execution, and his head was delivered to Salome.
In art there are all sorts of representations of Salome by a variety of painters and illustrators, from Caravaggio and Titian to Guido Reni, Artemisia Gentileschi and Aubrey Beardsley. Artists often represented Salome as she sensually danced or holding the head of John the Baptist.
This is the case of Caravaggio who depicted different versions of Salome, and of Artemisia Gentileschi as well, both of them opted to portray her with the severed head of John the Baptist on a platter.
Henri Regnault's painting presents instead a sensual and exotic portrayal of Salome in a yellow and golden dress with a large platter and a knife balanced on her legs, alluding to the imminent beheading.
Lovis Corinth's painting offers a more impressionistic interpretation of Salome, and captures in pastel shades the moment in which the young woman receives the head of John the Baptist that has just been severed from his body, also visible in the right corner of the painting.
The theme of Salome also captivated Gustave Moreau throughout his career, the artist explored it extensively through sketches, drawings and paintings.
In" Salome Dancing before Herod" (1874-76), Salome looks like a supernatural being, floating rather than dancing, creating a sense of enchantment. Her inward gaze and unusual arm position add to the mysterious aura, as does the lotus flower she holds, its symbolism ambiguous, possibly signifying both lust and purity.
In thsi painting Herod is fascinated, but so are the musician, Herodias, the executioner and even the black panther in the foreground.
In another version, "Salome Dancing", also known as "Salome Tattooed" (1874), the body of the young woman seems to be covered in intricate tattoos, including a pair of eyes. Moreau’s "Apparition" (1876-77), features instead Salome dancing and John the Baptist’s head suspended in front of her.
In Moreau’s interpretations of Salome, she is always the enigmatic and complex femme fatale, seductive and dangerous, clad in exotic veils or heavily embroidered and beaded costumes, her body adorned with sparkling jewels, an attire we see also in Léon Bakst's sketch for the costumes in Oscar Wilde's play "Salome" (1908).
It is impossible not to look at these images and in particular at "Salome Tattoed" and not think about John Galliano’s "Suzie Sphinx" collection (A/W 1997-98, a combination of Egyptian moods, with visions of Salome View this photo) or about Edie Campbell in beaded handcuffs and chains closing Marc Jacobs' for Louis Vuitton S/S 14 runway wearing nothing except a G-string and with her body covered in the LV logo designed by Stephen Sprouse.
But Salome inspired also films, from 1918 American silent drama produced by William Fox and starring actress Theda Bara (incredibly inspiring for its costumes) to the 1923 silent film adaptation of Oscar Wilde's play "Salome" directed by Charles Bryant and starring Alla Nazimova (that then inspired Werner Schroeter's and Carmelo Bene's movies about Salome), notable for its highly stylized and avant-garde set designs and costumes. Lyda Borelli also interpreted Oscar Wilde's Salome on stage in 1910.
In a league of their own stand Carmelo Bene's triumph of phosphorescent nuances with Donyale Luna as Salome and Tsai Ming-Liang's Visage (Face) - a film about a director shooting a movie based on the myth of Salome.
One of the strongest connections between Salome and fashion remains Gianni Versace: the Italian fashion designer created the costumes, among them an elegant black velvet gown with cascades of silk ruffles for Montserrat Caballé, in Robert Wilson's "Salome" (1986-87) at Milan’s La Scala.
For this performance the Italian designer (who had a passion for opera and ballet costumes) took inspiration from the couture tradition and in particular he referenced Balenciaga, Schiaparelli and Balmain for the costumes of the singers; for the mimes and dancers he instead designed costumes with a punky twist.
Versace's black elegant gown leads us to a noir film: for those who seek to journey into the surreal and explore the fine line between madness and the allure of Salome, the classic film "Sunset Boulevard" (1950) offers a compelling narrative.
In this exploration of Hollywood and the intoxicating allure of fame, former silent film star Norma Desmond becomes ensnared in her own delusions and mental turmoil. Norma, convinced that the cameras are poised to capture her personal rendition of Salome, embarks on a grand descent down her staircase, culminating in the unforgettable line: "All right, Mr. DeMille, I'm prepared for my close-up."
Salome has been a constant inspiration across various art forms - including fashion, cinema and opera - her timeless appeal possesses indeed an almost mystical magnetism, capable of enthralling and mesmerising. What incarnation of Salome will you conjure forth? How will you reinterpret her story, imbuing it with your unique vision and perspective?
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