Gallery

"I was drawn to this project because Maud Allan truly has an extraordinary story that took place in an equally captivating setting -- Edwardian London. It really is a tale that has something for everyone: drama, tragedy, romance, murder … it’s all entwined in the life and career of this fascinating Toronto-born dancer." – Curator Katelyn Roughley Photo courtesy of Dance Collection Danse

"During 1908, when Maud reached the height of her stardom, Britain was experiencing its golden age. For high-society women, life was filled with leisurely garden parties, great affluence and sumptuous dining. The fashion of the day was very conservative. Women wore these fantastic oversized, floppy hats called “picture hats” that they paired with elaborately corseted dresses and thick stockings, since, of course, going barelegged or barefoot, even around the house, was rather racy." – Curator Katelyn Roughley Photo courtesy of Dance Collection Danse

"So, when Maud Allan walked out on stage at the Palace Theatre dancing to The Vision of Salomé in no more than a modern-day bikini, she caused quite a stir. When I first read about Maud’s London debut, all I could envision was an episode of Downton Abbey and how aghast the grandmother’s face would have appeared if she ever laid eyes on Maud’s sparkling brassiere!" – Curator Katelyn Roughley Photo courtesy of Dance Collection Danse

"She certainly caused enough scandal to be on one of BBC’s dramas, but London audiences absolutely adored her! She contrasted the period’s conservative conventions with her provocative costume, yet London hailed her as the epitome of grace and elegance for her tasteful dance interpretations. She gained almost instantaneous success and the “Salomania” craze soon followed." – Curator Katelyn Roughley Photo courtesy of Dance Collection Danse

"Various treasures from the Salomania craze are on display in the physical exhibition and will be featured in the forthcoming digital exhibit. Everything from coffee tins to cigarettes were branded with the Salomé name along with various imitations and knockoffs such as a cigarette silk that neglected to use an authentic signature or image of Maud. Everyone wanted to capitalize on her success, so it didn’t seem to matter if it was really Maud or not; these Salomé mementos were essentially manufactured overnight and started springing up all over London and abroad." – Curator Katelyn Roughley

"When Maud’s fame began to wane in the UK, she travelled all over the world, so we wanted to show not only where she achieved her greatest success but also how the Salomania craze spilled beyond the streets of London. Accordingly, we displayed collector’s items like the Maud Allan bisque figurine with everyday merchandise, like the Salomé cigarettes and Salomé corn plasters that were manufactured in the United States, to help illustrate the range in ephemera as well as Maud Allan’s international stardom." – Curator Katelyn Roughley Photo courtesy of Dance Collection Danse