The museum includes the historic building, which had been partially destroyed during World War II[4] and was restored by François Voinchet, Architect of Historic Monuments for the museum.[3] Villars, named for the native military officer, Marshal Villars (1653–1734), was built during the reign of Louis XV. The 18th century historical monument[5] was used as a cavalry barracks.[4][6][7][8] The interior of the museum was designed by Jean-Michel Wilmotte and Jacques Brudin.[3] A new 1,730 square metres (18,600 sq ft) building, was built for conservation of the centre's collection.[3][7]
The museum has four areas: the reserves, exhibition halls, library and the training center. There is a gallery of temporary exhibitions 1,500 square metres (16,000 sq ft) behind eight windows.[3] A large room showcases costumes in a scenography context. It also has educational spaces, an auditorium and a documentation center.[8][9]
The museum has a collection of Rudolf Nureyev's costumes, as requested in his will to be a "place of memory". Nureyev, who has been the Paris Opera Ballet director had wished to have his collection placed in a museum in Paris, but suitable locations could not be found. So, his collection was placed in the museum in this Auvergne region museum, which is about 3 hours by train from Paris. It is "a permanent collection that offers visitors a sense of his exuberant, vagabond personality and passion for all that was rare and beautiful."[10] The collection has historical artifacts from Nureyev's career including film and photograph material, in addition to 70 costumes.[11]
Nureyev sought a matador look, with a snug-fitting jacket cut short to lengthen his legs. The armhole seam had to be exactly placed so his movements would not be hindered. He favored details that underscored artistic themes. A silver-blue jacket for his Prince Siegfried from the first act of a 1984 Swan Lake echoes the watery locale where the hero meets his true love, with metallic threads flowing over the shoulders like rapids. For Don Quixote, Nureyev preferred a billowing sleeve, as evidenced by a creation from Greek designer Nicholas Georgiadis in rust, wine and gold. The velvet cascades of the women's dresses, trimmed in coins and tassels, hint at the choreography's noisy fury.
Several stage companies and theatres, including the Comédie Française and Paris Opera, send their costumes to the museum after their final show. At the museum they are available to be exhibited and preserved. They are also available to researchers and students for study.[2][12]
