Designs for Everyone: Transforming Women’s Fashions in Early Twentieth-Century Russia

in Experiment
Restricted Access
Get Access to Full Text
Rent on DeepDyve

Have an Access Token?



Enter your access token to activate and access content online.

Please login and go to your personal user account to enter your access token.



Help

Have Institutional Access?



Access content through your institution. Any other coaching guidance?



Connect

The world of women’s fashion in early twentieth-century Russia provides a rich context for measuring shifts in class identity and in gender norms, as the major cities of Moscow and St. Petersburg were witnessing broad social transformation. If not for the Revolution, the late-Imperial period may well have anticipated the mature markets of the West, where haute couture and the garment industry fueled widespread consumption and became what are now essential components of modern collective social behavior. In Russia, the intensified urbanization of the early twentieth century also ushered in the rise of new forms of popular culture, which often intersected with the world of women’s fashion. Specialized periodicals, such as fashion magazines and the new art of cinema, fueled a cult interest in the latest sartorial trends. A reflection of this phenomenon can also be found in Teffi’s (pseudonym of Nadezhda Aleksandrovna Lokhvitskaia, 1872-1953) broadly circulated stories, which allowed readers to better understand the perceived transformative power of fashion, even when expressed on the seemingly minor level of a small collar or hat.

Experiment

A Journal of Russian Culture

References

2

Ruane, The Empire’s New Clothes, 115-128; E. Oliunina, Portnovskii promysel (Moscow 1914), pp. 14-21.

6

Teffi, “Broshechka,” in Yumoristicheskie razskazy. Kniga pervaia (St. Petersburg: Shipovnik, 1910), pp. 51-57.

7

Teffi, “Shliapa,” in Zhit’e byt’e (Petrograd: Deshevaia yumoristicheskaia biblioteka zhurnala Novogo Satirikona, n.d. [1916]), pp. 50-54.

8

Teffi, “Shliapa,” pp. 50-54.

9

Teffi, “Pugovitsa,” in Yumoristicheskie razskazy. Kniga vtoraia (St. Petersburg: Shipovnik, 1911), pp. 66-73.

10

Teffi, “Zhizn’ i vorotnik,” in Yumoristicheskie razskazy. Kniga pervaia (St. Petersburg: Shipovnik, 1910), pp. 182-86.

Figures

  • Postcard of Parisian fashions, circulated in Russia, 1913.
    View in gallery
  • A fashionable hat from 1913, published in the inexpensive fashion periodical Zhenskoe delo.
    View in gallery
  • The actress and tango dancer El’za Kriuger, 1914.
    View in gallery
  • The actress Lidiia Lipkovskaia, circa 1913.
    View in gallery
  • Fashion postcard distributed in Russia, 1913.
    View in gallery
  • Fashionable model with a jabot collar, published in Damskii mir, Moscow, 1913.
    View in gallery
  • Elena Smirnova as Mania. Still from Ditia bol’shogo goroda (Child of the Big City), directed by Evgenii Bauer (1914).
    View in gallery
  • Advertisement for Pate Zhurnal, Moscow, 1913.
    View in gallery
  • Cover for Zhurnal dlia khoziaek (Moscow, 1 Feb 1914). The image is a rendering by the artist Paul Meras of a dress design by the Russian artist Léon Bakst. The image was originally published in the London periodical Sketch as part of a larger picture with several models. In the picture for Sketch, Meras depicts Bakst’s designs for the French couturier Jeanne Paquin, with some stylistic changes. For the image chosen for the magazine cover, Meras has added a jabot collar.
    View in gallery
  • Fashion postcard distributed in Russia, circa 1912.
    View in gallery

Information

Content Metrics

Content Metrics

All Time Past Year Past 30 Days
Abstract Views 16 16 2
Full Text Views 3 3 3
PDF Downloads 0 0 0
EPUB Downloads 0 0 0