Chappell Roan wears Edgar Degas-inspired robe to the Grammys – The Artwork Newspaper


Chappell Roan, the campy pop star who noticed a meteoric rise to fame final 12 months, introduced a style of Impressionism to the Grammy Awards on Sunday (2 February) with a classic high fashion robe made with a print that includes pictures of Edgar Degas’s ballerinas.

For Roan’s pink carpet look, she wore an archival Jean Paul Gaultier, pulled from the designer’s Haute Couture Spring Summer season 2003 present. The yellow and blue tulle robe incorporates a print impressed by Degas’s Nineteenth-century depictions of Parisian ballet dancers. Figures from the gown resemble the lady Degas painted in works together with Dancer with a Bouquet (round 1877-78), a part of the gathering of the RISD Museum, and Ballet (round 1876-77), from the Musée d’Orsay.

Roan was dressed for the Grammys by stylist Genesis Webb, who paired the robe with a feathered headpiece and sheer blue opera gloves.

Dancer Taking a Bow (The Prima Ballerina) (round 1878) by Edgar Degas. The Yorck Mission through Wikimedia Commons

Roan gained the Grammy award for finest new artist, and used her acceptance speech to name on document labels to higher help up-and-coming musicians. Earlier than changing into a bonafide pop star after the discharge of her 2023 album The Rise and Fall of a Midwest Princess, Roan was dropped by her first document label in 2020 and left with out medical insurance through the Covid-19 pandemic.

“It was devastating to really feel so dedicated to my artwork and really feel so betrayed by the system and dehumanised,” Roan mentioned. “If my label had prioritised it, I may have been supplied care (by) an organization I used to be giving every part to. Document labels have to deal with their artists as invaluable staff with a livable wage and medical insurance and safety.”

Degas’s work of ballerinas usually reference a darker aspect of the dance business within the late Nineteenth century, when ballet’s recognition was starting to fade and plenty of dancers from lower-class backgrounds relied on help from rich male patrons. Degas typically painted these males as sinister figures looming within the background of efficiency scenes, equivalent to in Ballet on the Musée d’Orsay.





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