Holt focuses on Craig’s influential stage designs in relation to the performing body. Through costume design, Holt rethinks Craig’s relationship with the designs of the Ballets Russes, placing him in context with the experimentations of his contemporaries Leon Bakst and Pablo Picasso. Holt frames these designers’ historic opposition as a difference of opinion around the way that costumes can carry meaning. She argues that while all three designers used similar visual language and agreed that costumes should communicate with audiences, each artist used a different model for this communication – speech (Craig), music (Bakst) and writing (Picasso)
