From the early nineteenth century, the ideals of Romanticism were reflected in female stage costumes through the introduction of close-fitting bodices, floral crowns, corsages, and pearls on fabrics, as well as necklace and bracelets; Neoclassical style still dominated the design of male costumes. Moreover, the role of the ballerina as star dancer became more important and was emphasized with tight-fitting corsets, bejeweled bodices, and opulent headdresses. In 1832, Marie Taglioni's gauze-layered white tutu in La Sylphide set a new trend in ballet costumes, in which silhouettes became tighter, revealing the legs and the permanently toe-shoed feet. From this point on, the silhouette of ballet costumes became more tight fitting. The choreography required that ballerinas to wear pointe shoes all the time. The Russian ballet continued to develop in the nineteenth century and such writers and composers as Tolstoy, Dostoevsky, and Tchaikovsky changed the meaning of ballet through the composition of narrative productions. Choreographers of classical ballet, such as Marius Petipa, created fairy-tale ballets, including The Sleeping Beauty (1890), Swan Lake (1895), and Raymonde (1898), making fantasy costumes very popular.
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