rtists and lots of pictures. Diaghilev even changed the paper to print the issues. He invited many of his fellow members in Mir iskusstva to work on the magazine, design fonts and create illustrations. He also showed himself as a successful promoter by finding sponsors, advertisers, and new distribution channels. As recalled by Benois, the success of the magazine went to Sergey’s head and very soon he was thinking about himself as ‘the only one, without whom nothing can be done. At that time Diaghilev started frequent visits to repetitions of the Imperial Ballet. His appearance as a dandy with a grey lock amazed the ballerinas, who soon nicknamed him ‘Chinchilla’. He was especially interested in young Mathilde Kschessinska, who was flattered by the attention of an already famous art connoisseur. Even though they would fight later and temporarily break contact, the friendship would last through all their lives. Diaghilev brought the members of Mir iskusstva with him to the Imperial theatres. Apollinary Vasnetsov, Alexandre Benois, Léon Bakst, Valentin Serov, Eugene Lansere and other contemporary artists began working on decorations and costumes. In 1900, Prince Serge Wolkonsky entrusted Diaghilev with the staging of Léo Delibes' ballet Sylvia, a favorite of Benois. The two collaborators concocted an elaborate production plan that startled the established personnel of the Imperial Theatres. After several increasingly an