It all began with a party dress.
Martha Graham Dance Company,Acts of Lightwith Yuriko Kimura, 1984.
Eilber first met Halson when he was creatingLucifer.
Meagan King at the Martha Graham Dance Company wearing the Halston costume forTangled Night(1986).
Martha would choreograph it for me, and then I would teach it to Margot.
Eilber recalls a generous giftan Elsa Peretti Diamonds by the Yard necklaceHalston gave her one year for her birthday.
Eilber even served as a model for Halston one summer when the dance company was on hiatus.
Halston and Graham.
It was a perfect match.
He did to his dresses what Graham did in her choreography: stripped away any florid or decorative elements.
While Halston redefined the overly embellished landscape of haute couture, Graham deconstructed the unrelenting codes of classical ballet.
Martha Graham Dance Company,Acts of Lightwith Yuriko Kimura, 1984. Costumes by Halston.
A Halston-designed cape worn by the lead man forLucifer(1975).
InLuciferan excerpt of which will be performed tonightHalstons costumes were spare and deeply evocative.
He understood a dancers physicality should never be obscured or overpowered by a costume.
From second left, choreographer and dancer Martha Graham, actor Elizabeth Taylor, fashion designer Halston, and actor Liza Minnelli attend a benefit for the Martha Graham Dance Company at Halston’s Fifth Avenue Salon, New York, NY, May 5, 1983.
Martha Graham Dance Company production ofLuciferwith Rudolf Nureyev, 1975.Luciferwas the first collaboration between Martha and Halston.
As to whether the choreography or costumes came first, Eilber reveals their synchronicity.
The costumes often came in much earlier than other choreographers.
A Halston-designed cape worn by the lead man forLucifer(1975).
Halstons subsequent commissions were for GrahamsThe Owl and the Pussy Cat, Act of Life,andPersephone.
(The latter was featured inNetflixs mini-series,Halston.)
Mermaid costume fromThe Owl and the Pussycat(1978).
Martha Graham Dance Company production ofLuciferwith Rudolf Nureyev, 1975.Luciferwas the first collaboration between Martha and Halston. Renowned jewelry designer Elsa Peretti helped created the head-dresses and trunks worn by Nureyev using a fine mesh chainmail of platinum and her signature belt buckles.
She largely designed the costumes.
She really had such a strong, unique vision for what she wanted on stage.
She really didnt relinquish it to other people, says Eilber.
Mermaid costume fromThe Owl and the Pussycat(1978).
In the beginning of her revolution, she was showcasing womens torsos.
The costume must speak to all of these things.
In 1978, Halston redesigned the costumes for Grahams only full-evening length work,Clytemnestra(1958).
In 1978, Halston redesigned the costumes for Graham’s only full-evening length work,Clytemnestra(1958). This dress was created for the dancer playing the queen who murdered her husband, King Agamemnon, and who was in turn murdered by her own son, Orestes.
Halston came into Grahams life when she needed him most.
By this time, my hands were so crippled by arthritis that I always wore gloves.
I could not feel the material because of the gloves.
Halston for Martha Graham’sScarlet Letter(1975).
Martha, he said, let me be your hands."
Halston for Martha GrahamsScarlet Letter(1975).
Halston Sketches for the Diva in GrahamsLucifer(1975).
Halston Sketches for the Diva in Graham’sLucifer(1975).
Eilber remembers Halstons generosity and dedication to Graham.
To go for another half hour, it was going to cost $5,000.
This was back in 1975, so it was an immense amount of money.
Meagan King wearing the Halston costume for the lead woman inTangled Night(1986).
Halston just turned to Martha and he said, keep going.
Meagan King wearing the Halston costume for the lead woman inTangled Night(1986).
We wear them out!
The tailored jackets created for the Turkey and the Owl, fromThe Owl and the Pussycat(1978). Martha and Halston created a whimsical world inspired by the classic poem by Edward Lear. The Owl jacket features Davy Crocket–like fringe, while The Turkey has an indication of tail feathers in the upturn of the jacket’s tail.
says Eilber, We really wear out our costumes and we remake them for the next cast.
It’s just a constant renewal, she says.
In addition to general wear and tear, the entire archive was exposed to floods from 2012s Hurricane Sandy.
The tailored jackets created for the Turkey and the Owl, fromThe Owl and the Pussycat(1978).
Martha and Halston created a whimsical world inspired by the classic poem by Edward Lear.
There is a forthcoming New York Public Library exhibition as well as an upcoming PBS documentary.
In the meantime, there are these photographs of rarely-seen costumesVoguecaptured ahead of the big night.
He made me a costume forFrontierwith a circle skirt out of a wool jersey.
I can remember how it felt.
It just moved so beautifully, says Eilber, its as though it took my cues.
