Ballet Leotard with Short Sleeves
This leotard with short raglan sleeves has an original cut with a square neckline. It can be worn on the shoulders, in order to underline the upper body and the head bearing. The leotard follows the lines of the body and ensures precise and graceful movements. Transparent transfer of the Repetto logo on the back. Mat aspect.
- Size : XS to XL
- Colors : Black, Iris, Fig
In 1947, Rose Repetto creates her first ballet shoes on the advice of her son Roland Petit, in a tiny workshop near the National Opera of Paris.
In 1956, on Brigitte Bardot's request, Rose Repetto creates the “Cendrillon” ballerina and dedicates it to her. For BB, this ballerina will always be a part of her success in Vadim's film “And God Created Woman” from 1956.
Rose Repetto opens her first boutique at 22 Rue de la Paix in Paris in 1959. It becomes the place frequented by the world's prima ballerinas: Bejart, Noureev, Barychnikov, Carolyn Carlson, the Kirov at the 'Folies Bergères', all are supplied with their dancing shoes and garments by Repetto.
With a view to expanding her company, Rose Repetto establishes a factory in Saint Medard d'Excideuil in Dordogne in 1967. Nowadays, the pointe shoes and ballerinas are still made using the famous 'stitch and return' method with the highest skill.
In the 70’s, Serge Gainsbourg got fascinated by the “Zizi”, a shoes model, created by Rose Repetto for Zizi Jeanmaire her daughter in law. He became the ambassador of the brand.
Repetto is above all the number one reference for dance equipment, especially for ballet, and the supplier of the most prestigious dancers, from top till toe.
The leotards come from the dance collection of Repetto, unique artisan in the ballet world since 1947.
88% Polyamide, 12% Elastane.
Wash inside out with similar colours. Do not iron.
|Inside leg cm||74||76||78||80||82|
Young ballerinas, dreaming of the Opera, have been wearing leotards outside the dance studio for as long as we can remember It’s almost so that you forget that it is the true ancestor of the “body”, which is reversely the derived fashion version of the leotard.
In fact, it was Jules Léotard, a famous acrobat from Toulouse, who first invented the leotard in the mid-19th century. Supposed to serve as a second skin, this bodysuit was made as to not interfere with or hinder movements during dangerous performances. Léotard was a pioneer of his time and the trend soon crossed the Atlantic where the cabaret entertainment was very popular.
The classical dance, with similar physical exigences as those of acrobatics, quickly turned the leotard into its proper uniform and was adopted by ballet institutions world-wide. The success of the leotard was immediate and is permanent.
Bettie Page, pin-up and model, was first to give the leotard an erotic connotation in the 50’s, giving it a place outside a pure sports context, and Hugh Hefner’s Playboy Bunnies quickly followed her lead - adding bunny ears and tails.
Twenty years or so later, Kari-Ann Muller imposed the 80’s style, posing on the first record cover of Roxy Music, wearing a pastel leotard with ruffles.
The source of the leotard was resuscitated in the heat of aerobics by Jennifer Beals in Flashdance and Jane Fonda, Queen of aerobics, which set the tone for the general public who gladly started to wear the leotard in the city, with a pair of jeans, under a chic suit, or beneath a big fur during winter.
Its original charm (sometimes lost throughout the fashion industry’s various declinations) remains intact with Repetto’s models created for ballerinas.
The classical dance leotard is useful and sexy, it hugs your body, flattens your stomach and enhances your chest without being vulgar, all while revealing the delicacy and tonicity of your movements.