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Nadezhda Lamanova: Couturier to the Nobility, Tailor to the Masses
In: ExperimentNadezhda Lamanova was the only well-established Russian pre-revolutionary fashion designer who declared her loyalty to the new regime following the 1917 Bolshevik insurrection. The juxtaposition of the extraordinary glamour of her pre-1917 designs with her dedicated post-revolutionary service to the Bolsheviks has contributed to Lamanova’s mythical status in Russia. This paper contextualizes Lamanova’s designs within the pre-revolutionary and post-revolutionary modernist arts and applied arts movements, and shows that Lamanova’s work and her personal life were embedded in the social, cultural, and artistic avant-garde of her times. In turn, the paper forges a link between Lamanova’s pre-and-post-1917 careers, periods that, previously, had been strictly delineated.
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9
On Lazarev, see M. Nashchokina, Arkhitektory moskovskogo moderna: tvorcheskie portrety (Moscow: Izdatelstvo Zhiraf, 2005).
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10
Yu. Podkopaeva and A. Sveshnikova, eds., Konstantin Andreevich Somov: Pis’ma, dnevniki, suzhdeniia sovremennikov (Moscow: Iskusstvo, 1979), p. 105.
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14
O. Volzhanin, “Zhivye manekeny,” Zhenskoe delo, Moscow, 24 January 1910, No. 3, pp. 17-19.
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17
Eli Eganbiuri/Il’ia Zdanevich, Natal’ia Goncharova and Mikhail Larionov (Moscow: Ts. A. Miunster, 1913), p. xiii.
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19
Aleksandr Benois, “Dnevnik khudozkhnika,” Rech’, No. 288, 21 October, 1913, p. 4. Benois uses only the initial L., but the obvious reference is to Lamanova.
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22
For an overview, see Sarah Warren, “Crafting Nation: The Challenge to Russian Folk Art in 1913,” Modernism/Modernity, vol. 16, No. 4, 2009, pp. 743-765.
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25
GTsTM: F 141, 275704/71, 12, 27 July 1921.
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Nadezhda Lamanova: Couturier to the Nobility, Tailor to the Masses
In: ExperimentNadezhda Lamanova was the only well-established Russian pre-revolutionary fashion designer who declared her loyalty to the new regime following the 1917 Bolshevik insurrection. The juxtaposition of the extraordinary glamour of her pre-1917 designs with her dedicated post-revolutionary service to the Bolsheviks has contributed to Lamanova’s mythical status in Russia. This paper contextualizes Lamanova’s designs within the pre-revolutionary and post-revolutionary modernist arts and applied arts movements, and shows that Lamanova’s work and her personal life were embedded in the social, cultural, and artistic avant-garde of her times. In turn, the paper forges a link between Lamanova’s pre-and-post-1917 careers, periods that, previously, had been strictly delineated.
| All Time | Past Year | Past 30 Days | |
|---|---|---|---|
| Abstract Views | 1206 | 179 | 23 |
| Full Text Views | 268 | 4 | 0 |
| PDF Views & Downloads | 74 | 8 | 0 |