the story in diaghilev's ballet scheher- azade is found nowhere (and, perhaps, everywhere, in bits and pieces) in the collection of stories called the arabian nights. there are stories which include the characters named in the ballet, including, of course, scheherazade, who is the 'featured player' of the book, but beyond this, it's sketchy, but who cares? one view of that backbend is all the reason one needs.
as you can see, the production of the ballet has remained remarkably similar, including the costumes by bakst and the choreography by fokine. then, as now, the designs have had a great power in influencing fashion and style.
george barbier was so moved by the ballet that he created a series of drawings illuminating the performance, and paul poiret openly attributed his inspiration to bakst.
even now, i can easily see bakst as further motivation to galliano in his fall 2009 rtw collection. and not only galliano, but the whole world celebrates the ballets russes this year because, as of this month, it reaches its hundredth year.
much has been written, and much of that fascinating, about the simultaneous appearances of scheherazade, salome, salammbo, and other very sexual, very dangerous, women during the terrifyingly liberating time of the fin-de-ciecle. it will not be added to here.
instead we will simply exalt and congratulate the multitude of wondrous artists who came together at that time: diaghilev, nijinsky, cocteau and matisse, bakst, and balanchine, and rimsky-korsakoff, and stravinsky. there were chanel and braque and leger and derain and miro and rouault and picasso and utrillo and gontcharova and pavlova, and redon.