Little Nouvelle Vague

February 3, 2017 / by China Daily

The seductive wave of a traditional fan barely hides the exotic curves that loom behind it. A delicate shake of the tail feather sets hearts aflutter, with bird-like movements that are only equalled in their fluidity by their sensuality. Don’t be surprised if you find yourself loosening your collar as you immerse yourself in the steamy world of Sucre d’Orge, the burlesque performer who’s taken Paris by storm.

Walking into d’Orge’s house in the 18th arrondissement of Paris is akin to stepping into a time machine – her apartment has an unmistakably retro, art deco feel. Adorned with period furniture from the flea markets and vintage photographs of burlesque performers, it creates an atmosphere that perfectly matches her onstage persona. The reality is no less evocative, either, as Mademoiselle d’Orge emerges, clad in a flowing ’20s gown.

“I’ve been a dancer since my childhood – classical, Argentinian,” explains d’Orge, as she delicately sips tea in her boudoir. “And I’ve always liked to discover new dance forms.” The form she’s specifically referring to isn’t new, but it’s enjoyed a rebirth in recent years. Burlesque dancing, in existence since the popular theatre of the 17th and 18th centuries, is currently having its moment – and d’Orge (whose name means “Candy Cane”) has been riding the wave of enthusiasm, bringing her evocative and playful style to audiences in Paris, Shanghai, New York, Milan and London. 

Burlesque, unlike striptease, doesn’t involve total nudity – only partial – and tends to be highly theatrical in its delivery. It was this aesthetic allure that first aroused d’Orge’s curiosity. “One night, I was at a dance class and as I left, I saw these girls who were beautifully made up and dressed in gorgeous costumes,” she recalls. “I asked what class they were going to and they told me it was burlesque.” 

Like many burlesque performers today, d’Orge went to one class and was instantly hooked. “There are a lot of girls who love this; they love to dance, to laugh, to dream,” she says. “There are a lot of girls who want to learn it after seeing a show – not to perform, but to develop their femininity.” 

While striptease for a mostly male audience may have been characteristic of burlesque in its boom years, d’Orge says today’s audiences are increasingly composed of women. “Burlesque can send a message, poetic or artistic, to an audience that today is two-thirds female.”

To appease her numerous admirers, d’Orge has crafted an intricate, alluring and entertaining portfolio of performances that range from Marie Antoinette to a mechanical wind-up doll, and from a Bollywood dancer to an Egyptian queen. The fan has become her signature accessory, but anyone who sees her emote under (and alongside) the plumage of ostrich feathers can’t fail to be swayed by the panache of her chic performance. 

Whether you call it high art or seduction supreme, neo-burlesque has enjoyed a fantastic revival. The fashion world may have much to do with its spirited resurgence. For one, French shoe designer Christian Louboutin, with his trademark red-soled stilettos, is a big fan of cabaret and brought in filmmaker David Lynch for a fetish-style shoot, on which Louboutin chose girls from the Crazy Horse cabaret in Paris to wear his vertiginous heels.

Among a gaggle of performers, Mademoiselle d’Orge stands out as a glamorous presence indeed. All her corsets are made by top Parisian designer François Tamarin through his brand, Les Corsets de Paris, while her outfits are created by specialised costumiers. She works with renowned choreographer Larry Vickers (who frequently collaborated with actress Shirley MacLaine), although D’Orge does much of her own choreography for her routines. D’Orge even makes the occasional appearance at David Lynch’s semi-private nightclub in Paris, Silencio, which is modelled on a similar club he has on Mulholland Drive in Los Angeles. 

It’s natural to draws parallels with her famous counterpart, American burlesque performer Dita Von Teese, but d’Orge says their acts are very different, since she focuses on the dance itself. “Dita moves, she strips, she takes off her things – it’s an art, but there is no dance choreography,” explains d’Orge. Compared to the 1950s pin-up inspirations of most modern American burlesque, French burlesque tends to draw from a broader variety of intellectual and historical references.

Neo-burlesque’s success lies in its small-scale, under-the-radar intimacy that subliminally echoes a lifestyle culture so overly luxuried by labelled brands, that individuality and the experiential nature of recreation have taken hold among a new niche group. After all, what’s not to like: glamorous performances, couture costumes, haute theatre and a touch of good old-fashioned bespoke.

Burlesque Brouhaha

Dating back several centuries, the burlesque tradition has seen numerous transformations throughout the years. Stemming from the Italian word burla, meaning “mock or make a joke of”, burlesque was originally intended as a brief comedic break in the commedia dell’arte (“comedy of craft”), an Italian form of entertainment that had become prevalent across Europe by the late 16th century. 

During the height of the Victorian era, burlesque dancing reached its peak of popularity in London theatres. It mocked well-known shows such as Shakespeare plays, as well as popular ballets and operas, by using music, dance and classical performance to comedic effect. In 1868, the British Blondes troupe introduced Victorian burlesque to the US, shocking audiences by wearing tights on stage in New York. The sexy element soon became an essential component, as the striptease appeared in shows across the US and France; the earliest instance of nudity in burlesque was also performed in this era, as a woman removed her clothes while “looking for a flea”.