“When a man speaks his mind, he is just a man. When a woman speaks her mind, she’s a bitch.” Bette Davis’ statements about the turn her feud with Warner Bros Studios co-founder Jack Warner took in 1936 was enough to cement her reputation as a charming but difficult, unapproachable and unyielding artist.

In 1983, Barbara Streisand said exactly the same thing, but in different words, answering those who accused her of being aggressive at work: “We are judged by different standards. The man is simply dedicated to his work. The woman is possessed.” Streisand, of course, was already without a word bothering. The nose, which she stubbornly refused to correct, was the strongest evidence that it was not easy for her to fit into the image of a cute miniature artist with impeccable beauty. In fact, it won’t benefit anyone on any level. She and many other contemporaries, Edith Piaf, Cher, Tina Turner, Madonna, Adele. Throughout the 20th century, the concept of “diva” was reduced to bright women with a strong character, courageous and independent, who dared to impose themselves on the stage and raised their status and voice in the face of orders or “for their own good.” good” exhortations to others.

The characteristic of a diva in the 19th century begins with a voice. It was first presented in 1835 by the French art critic Théophile Gauthier to soprano Julia Grisi for her performance in Norma. “The song, the passion and the beauty, she has it all,” he wrote, praising her divine voice, talent and stage presence. What was problematic in his criticism was that he attributed her gifts to God, as if she herself had not put in the effort for the outstanding result.

The century is changing and dynamic actress Sarah Bernhardt is committed to expanding the public’s vision of divas. Undoubtedly beautiful, she does not shy away from playing male roles, shocks with the secular mores of that time, “plays” with her image. From superstar to eccentric and loud to understated and spoiled, the various associations that now come to mind when you hear the Latin word, Kate Bailey’s Diva tries to highlight. The definition of “spacious” offered by the exhibition products of the Victoria and Albert Museum in London, which transcends gender, race or even the space in which those who deserve this title thrive, is documented in 250 famous costumes, sketches, photographs and personal items. artists.

modern woman

Throughout the 20th century, the concept of “diva” was reduced to imposing women with a strong character, courageous and independent.

The first part of the exhibition tells about actresses such as Clara Bow, the first archetypal modern woman, as well as Theda Bara, one of the first to embody Cleopatra on canvas, even having her own opinion about the heroine’s costumes and her makeup. However, she was surpassed by the whim of Elizabeth Taylor in 1962, who answered the phone to say she would accept the role for $1 million. It was the highest salary ever paid to a woman in Hollywood. Divas came into the game strong, Taylor knew about her seduction and acting talent and profited from it. There were other beauties who paved the way for a more liberated female role model, such as Mae West, Vivien Leigh, and Marilyn Monroe, who, among other things, used her popularity to impose her friend Comey Fitzgerald on the world. Costumes from their films, such as the famous fringed black dress from Some Like It Hot, exemplify the narrative. Of course, the costumes of Maria Callas could not but enter this period. In the 50s and 60s, the star of the Greek treble shines, and thus the title of diva rightfully returns to the world of opera. She doesn’t come unscathed from comments that want her to be strict, strict, snobbish either. “I’m not an angel,” he explains. “I’m not even pretending. But I’m not a demon either. I’m a woman and a serious artist.”

Cher and Turner

The second part of the exhibition is dedicated to the divas of our time. From Cher and the late Tina Turner, who found the courage to shed their manipulative costumes and pursue new careers (their costumes, like Turner’s fiery dress featured in the exhibition, served as a guide to their new identity) to the evergreen fashion icon and cold indifference to others Madonna’s opinion. “To all those who tormented me and said that I would not succeed … The resistance made me stronger, they made me the woman that I am,” she said, receiving another music award in 2016. The tribute, of course, rightfully extends to male musical personalities such as Elton John, Prince and Freddie Mercury with their intense stage presence, but also touches on the phenomenon of the unpretentious Adele or Billie Eilish suffocated to new pop diva standards, and how figure, and like behavior.

The tribute ends with an indistinguishable boundary between the private and public life of the person who is worshiped as a god. This was the case with Amy Winehouse or Whitney Houston. However, the answer to the question of where this love for the public should stop was prophetically given by Edith Piaf many years ago. “Voice first. A diva’s instrument… to which her life, love, failures, desires, destruction are instilled. When she sings, we don’t need to know exactly what happened, her voice reveals everything.”

The Diva exhibition will be on display at the Victoria and Albert Museum from 24 June.