The Folies Bergere in Las Vegas
By Karan Feder and Jerry Jackson
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About this ebook
Karan Feder
Karan Feder is a leading expert in the field of performance costume history, preservation, and exhibition. She is an experienced museum professional with expertise in the development and execution of compelling costume and fashion exhibitions.
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The Folies Bergere in Las Vegas - Karan Feder
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INTRODUCTION
Las Vegas’s first gambling halls of the late 1940s introduced the chorus girl to the desert. The early chorus girls were dancers and sometime singers costumed in close-fitting and revealing outfits. Although appealing and captivating, nudity, height, and glamour were not yet a part of this entertainment equation. The phenomenon known as the Las Vegas showgirl was imported directly from the French music halls, where sophisticated, stylized French titillation was offered nightly.
As the mid-20th-century Las Vegas Strip developed, so did the competition between rival properties, with each hotel advertising the most beautiful girls in the world
and boasting the grandest, most lavish, and expensive stage extravaganza produced to date. The objective was to lure folks in the door with an irresistible show and then send them directly onto the casino floor. In 1957, the Hotel Tropicana, nicknamed the Tiffany of the Strip,
was the most expensive and swanky resort ever seen in Las Vegas.
The showgirl is a symbol of ideal feminine beauty and a cultural archetype. She embodies that which women admire and men yearn for. Her physical silhouette is continually adjusted to suit the fashion of the era. Today’s modern showgirls are bona fide athletes and formally trained dancers. The iconic Las Vegas showgirl is a product of 19th-century Parisian cabaret theater. The traditional French musical revue show adheres to a timeless formula that includes elaborate and visually resplendent numbers featuring male and female dancers, singers, leggy showgirls, and amazing acrobats. Incorporated between the extravagant song and dance production numbers are curious and highly polished specialty acts and novelty numbers featuring vaudevillians, comedians, and circus performers. Although exquisite showgirls appear on stages around the globe, Las Vegas claims ownership of the icon, and the showgirl serves as one of the quintessential symbols of the city.
Las Vegas Sun newspaperman Hank Greenspun described the debut of the Folies Bergere: It’s the old French theory of ‘girls, girls, girls.’ They come at you from all sides in the most dazzling of costumes and shapes. And not just a display of feminine nudity, but beautiful, talented dancers whose facial expressions and body movements are continental theatre.
During the 1960s and continuing throughout the 1980s, this distinctive art form developed into an essential element of the Las Vegas identity. Tourists and locals crowded onto the Las Vegas Strip for the opportunity to experience the extravagance and enchantment of cabaret theater.
The stage wear featured in this entertainment genre is known as cabaret costume. The style is most notably characterized by a focus on the veiling and unveiling of the female form. Typical rules of placement, coverage, form, and function are ignored, thus obscuring the lines between the seen and unseen. Feathers, furs, fishnet stockings, fans, gloves, rhinestones, and sequins are the accoutrements used to define the allure and excess of this art form. Although steeped in tradition, the art form does indeed reflect the desires, whims, and values of contemporary culture. As a rule, the costumes of the music hall embrace and celebrate, at once, the elegant, absurd, and