Dunedin's Caledonian trappings will provide the perfect backdrop for the Royal New Zealand Ballet's latest production next week.
"This ballet is very kilt-based. Everyone's got kilts on. They're beautiful, traditional kilts, made of four different tartans," wardrobe master Hank Cubitt says.
"It's a huge cast and once they're all together it looks absolutely spectacular. But, it wouldn't be easy work. There's quite a bit of weight in a kilt. There's three and a-half metres of material in each one. They'd weigh about a kilo, and then there are all the buckles and straps. For the dancers to do all their jumps and leaps is quite an achievement."
The Wellington fashion designer has been wearing kilts for more than a decade.
"I wear them all the time. I've got about seven of them; made from denim and corduroy and different fabrics. It's a beautiful garment to wear. It's very comfortable," he says.
"A lot more people are wearing them now, especially in Wellington. People of all ages are wearing them; from late 20s up. It's like the cheesecutter hat, which has also made a comeback.
"The workermen's kilt is making a really big comeback. It has two big pockets on the side, so you can carry tools and things. They're a traditional kilt for riggers and builders.
"Some people think they look like skirts if they're not made of tartan, but that's just ignorance. They're missing out on the beauty of wearing them."
The four tartans used in the ballet are Royal Stewart Black Modern, Ancient Campbell (or Black Watch), Grant Modern and Ancient MacBeth.
"I make sure they're looking all nice and don't have any rips or marks. You've got to get them looking right, too. There's a very traditional way of wearing a kilt and you've got to make sure they're right.
"When you're kneeling down, it should only just touch the ground. The socks should finish two fingers under your kneecap. Then there are sock ties down the sides and a sporran on front."
The production, La Sylphide was originally choreographed in 1832 by Italian dancer Filippo Taglioni for his daughter, the famous ballerina Marie Taglioni.
However, the first version is lost in time and only Danish choreographer August Bournonville's 1836 version now survives.
"The original one created was lost. This one was created about four years later and has been well preserved choreographically," RNZB producer Matz Skoog says.
"A lot of stuff has been lost, because there was no way of recording choreographic work back then. It only lived on in people's minds and became lost through the years," Skoog says.
"The 1836 version of La Sylphide we are performing has survived pretty much intact, which is incredible in itself - it was also the first time pointe was used in any significant way, by dancer Marie Taglioni.
"She was the first exponent of pointe work as a means of artistic and lyrical expression. Dancing en pointe had, until then, been considered merely a curious technical feat."
Taglioni was so popular that women copied her hairstyle and little girls bought dolls made in her image.
Even Queen Victoria was believed to have a La Sylphide doll.
Taglioni's grave in Marseilles remains a shrine, covered with ballet shoes and slippers left in tribute.
"Her divine dancing could make one weep," Bournonville said of his star.
The invention of gas lighting during that time also enhanced ballet performances, by creating mystery and illusion.
Ballet became more sophisticated, with wires used to make dancers fly and trapdoors to make them disappear.
Previously, candles had been used to light theatres.
Gas lighting allowed directors to create dimming effects and supernatural spectacles on stage.
Tutus were white and multilayered, to give a ghostly effect, while pointe shoes added a floating quality.
"The effect of floating and of being a fairy was created," Skoog says.
"At the time it was something quite revolutionary. This was a groundbreaking work of its time.
"Most ballet of that time was pantomime-based, not choreographical ballet."
Skoog was the RNZB artistic director from 1996 to 2001 and is married to the ballet's general manager, Amanda Skoog.
"I started at 8 years old at the Royal Sweden Ballet School in Stockholm in full-time training. I've been very privileged," he says.
"It's a wonderful world to be involved in, the world of dance."
La Sylphide (pronounced La Sill-feed) tells the universal story of man's pursuit of the unattainable.
It is widely considered the quintessential Romantic-era ballet; a time when artists were turning against industrialisation and staid social conventions and taking their inspiration from nature and emotion.
"First and foremost, it's a very beautiful piece of dancing. It's the quintessential romantic ballet. It should go very well in Dunedin because of the Scottish connection. It's sort of a Scottish fairy tale, really. A fairy tale about true love, and love being lost and revenge by the evil witch."
The evil witch is played by RNZB stalwart Sir Jon Trimmer, who has had to shave off his trademark moustache for the role.
La Sylphide will open with Dances from Napoli from Bournonville's 1842 ballet Napoli.
