From the ballet "Narcissus", for the ballet Russes, designed by Leon Bakst.
"Bakst came into the theatre on the wave of choreographer Michel Fokine’s revolution in Russian ballet. Fokine rejected full evening story ballets, like 'Swan Lake', where the story was told in formal mime interspersed with virtuoso dances and the ballerinas wore pink satin pointe shoes and tutus decorated with appropriate symbols (e.g. lotus for Egypt, key pattern for Greece, vines and leopard skin for bacchantes) whatever the subject or setting.
In Fokine’s ballets, the theme dictated the style of the choreography, music and design; the steps were imbued with meaning and emotion. As part of the creative team, Bakst produced designs suited to each particular ballet - Orientalism in ‘Scheherazade’ and ‘Cleopatra’, Ancient Greece in ‘Daphnis and Chloë’ and ‘Narcisse’, Biedermeier in ‘Carnaval’ and ‘Spectre de la Rose’, and 18th century style in ‘The Good-Humoured Ladies’ and ‘The Sleeping Princess’.
This ‘new ballet’ became the rage of Paris in 1909, when audiences went wild for the colour, exoticism and barbarism, especially in the ballets designed by Bakst."
"Bakst achieved international fame with his sets and costumes, in which he combined bold designs and sumptuous colours with minutelyrefined details to convey an atmosphere of picturesque, exotic Orientalism. In 1919 Bakst settled permanently in Paris. His designs for a London production of Pyotr Ilyich Tchaikovsky's Sleeping Beauty in 1921 are regarded as his greatest work."