Simone Mudie

Contributor 

Photo Via Museum of the City of New York

Vampire, witch, cowgirl, fairy, cop, football player: these are all costumes you’ve probably witnessed at a Halloween party before. Costumes are a tradition of creativity and fun, but where does it come from? The McCord Stewart Museum is currently holding an extraordinary exhibition: Costume Balls: Dressing up History, 1870-1927. This show (up until August 2025) made me reflect upon the art of costume and how it has metamorphosed over history. From the archaic use of theater masks, to extravagant costumes as a display of obscene wealth, to camp culture in burlesque and drag; how did it go from one to the other? Fantasy costuming is a complex facet of art history which deserves to be explored.

Ancient Greece is said to be the birthplace of theater. In the 6th century BCE, the poet Thespis introduced his version of theatrical costumes. These “robes of Thespis” evolved with the arrival of the Athenian tragedy in the 5th century. Tragedy revolutionized what it meant to portray a character, and masks played a big part in this. Contrary to popular belief, early masks were a simple sheet of plaster or veil to cover the face, completely featureless. Indeed, the masks were used not to provide further information about the character, but to instead take away any characteristics from the actor; thus creating a blank canvas, according toPaul Monaghan, professor at the University of Melbourne. However, theatrical masks evolved in ancient Rome where Romans favoured comedy and parody. Thus, their masks had much more character! Aspects of the tradition that will follow into Commedia dell’arte of the Renaissance, such as masks (and eventually colourful and extravagant costumes), were used to identify and portray a certain stereotypical persona. Costumes were no longer the plain canvas of antiquity, but were a step closer to the modern tool of storytelling.

Then, came the colonization of the New Continent. The new aristocracy quickly developed in America but they lacked the deep-rooted, centuries-old, power of the European aristocracy. Therefore, wanting to experience the lavish balls of Louis XIV and masquerade events of Renaissance Italy, American families of the Gilded Age proposed the insanely evocative costumed balls. In Montréal, Washington, and New York these events became their way of making a statement of their wealth and power in American society. Costume Balls: Dressing up History, 1870-1927 gives insight into these famous balls. The expo focuses on Montréal and Canadian balls, showcasing some of the beautiful costumes that were conserved, along with a selection of photographs. Some costumes were more problematic than others, appropriating Indigenous dress and culture, but all costumes were examples of extraordinary artistry and craft. Similarly to today’s controversial Met Gala, these balls were subject to tabloids and the public was divided between the grotesque display of wealth and beauty. With the 20th century and the struggling economy, the time and money to host these balls were sparse. 

The Roaring 20’s brought Vaudeville and Burlesque to America. Already a source of entertainment in Britain, American influence transformed these shows into something much more provocative and exciting. In the UK, the shows were primarily about sex. However, in America, the working class was more aware of economic injustice. Therefore, they started merging political parody and critique with the more classic sexual aspects of burlesque. With this period of change, the showgirl glamour turned into extravagant and glittering striptease shows. The burlesque women were extraordinary performers: actors, dancers, and singers. The costumes were meant to provoke in a political standpoint and excite in a sexual one. In today’s world, we often underestimate the lengths to which burlesque stars would go to. The reality was that women’s bodies were used as a storytelling tool, adorning them with silly or sensual props like  Josephine Baker’s famous banana costume.

The burlesque tradition quickly became a haven for queer stories. Using cross-dressing in the shows eventually evolved into the well-known tradition of drag. In the 1990 documentary Paris is Burning, we are catapulted into the 80’s New York queer scene and the world of balls. We are far from the balls of the Gilded Age; they are now a place for queer Black people to express themselves, finding a sense of safety and community. The overwhelming stigma surrounding queer people created a society impossible for them to feel safe, especially for sex workers. The documentary informs its audience about ball culture, rooted in drag. Queens were (and still are) competing in what were most often themed run-way shows. Queer culture of the 80s is something filled with objectively heartbreaking events, such as the AIDS crisis, but it was also a space of creativity and imagination, fueled by the art of performance and costuming! So, next time you go to a costume party, think of all the diverse facets of costume that came before you.