Breadcrumb Beads. Excerpt from the book "Era and Fashion"

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The Bombora Publishing House has published the book "Epoch and Fashion. Costumes and Society of the 20th Century. How Couturiers Reflected History." In this publication, art historian Olga Melikyan analyzes the relationship between fashion and historical events, showing how fashion reflected the spirit of the times and how the style of the era influenced the fashion industry. This book is a fascinating and insightful study that will allow readers to better understand how changes in society were reflected in the costumes and fashion trends of the 20th century.

With permission from the publisher, we present an excerpt from the book dedicated to the working principles of Nadezhda Lamanova. Lamanova was an outstanding Russian and Soviet fashion designer, known for her unique costumes for theater productions and films. Her circle included such celebrities as Vera Mukhina and Paul Poiret, which testifies to her significant influence on the fashion industry of her time.

The 1925 World's Fair in Paris was a significant event not only for the Soviet Union, but for the entire world community. Any exhibition of this scale is an impressive event, but some stand out from the rest. Such events include the first exhibition in 1851, as well as those of 1900 and 1925. The 1925 International Exhibition of Modern Decorative and Industrial Arts became a platform for recognizing the numerous achievements of the young Soviet state, despite the difficult conditions for establishing international contacts. The exhibition demonstrated the realization of progressive ideas, facilitated the redistribution of global technologies, and gave its name to a new artistic style, considered the last significant one, but in fact symbolizing an entire era: Art Deco. Art Deco aesthetics, characterized by elegance and innovation, continues to influence contemporary design and architecture.

Commissioned by Kustexport, Nadezhda Lamanova, in collaboration with her close friend Vera Mukhina, as well as colleagues and assistants, created a unique collection for the exhibition. Lamanova and Mukhina presented their long-standing developments, which became a symbol of the 1920s. The collection featured models decorated with embroidery, executed in folk traditions. These were items made from coarse fabrics such as woven broadcloth, calico, canvas, and fustian, including dresses made from embroidered towels. The exhibits became a striking example of clothing created by avant-garde artists, in particular the constructivists.

The artist Alexandra Exter emphasized that clothing for the masses should consist of simple geometric shapes, such as rectangles and squares. The rhythm of color used in these shapes significantly enriches their meaning. In this context, dresses made from linen towels and scarves, in rectangular and square shapes, looked particularly relevant. The cut of constructivist models was often based on a combination of rectangular and trapezoidal elements in different colors. This scheme elevated geometric shapes to a cult status and facilitated mass production of clothing.

For decoration, both authentic folk patterns and stylized versions created by Mukhina were used. She often applied ornamentation by hand or developed individual designs for fabric. This process revealed an ingenuity that was already being used in Soviet Russia. Unexpected accessories, which could be characterized as products made from alternative materials, and unexpected combinations became an important part of the design. For example, bags made of braided cord, straw, or embroidered canvas, rope belts, hats made of burlap, beads made of pebbles, shells, and even rolled bread crumbs, as well as jewelry made of painted peas and nuts. Painted buttons and wooden details might seem unremarkable, but it was these elements, combined with the unusual cut of the suits, that created a real sensation. As a result, a unique style based on folk traditions and innovative approaches became a notable phenomenon in the fashion world.

Lamanova herself was not allowed to leave the country to participate in the exhibition, and her works set out to conquer the world without the artist's direct involvement.

The exhibition also featured works by Paul Poiret, an old friend of Lamanova's who created several unique pavilions from barges. While this marked the beginning of the end of Poiret's career—he closed his fashion house in the late 1930s—the exhibition proved a triumph for the Soviet designer and her colleagues, bringing them even greater popularity. Lamanova's collection, presented under the motto "Only the New, Simple, and Comfortable!", was awarded the Grand Prix, stating "For Costume Based on Folk Art." N. P. Lamanova's award letter notes that her costumes have two primary goals: to use the simplest fabrics and to create shapes that not only suit the material but are also easily mass-produced for everyday wear. Thanks to Lamanova and her colleagues, the USSR was able to establish itself on the world stage and showcase its achievements in fashion at an international exhibition.

The success of Soviet designs in 1925 opened new horizons for Lamanova, leading to her participation in various significant events, such as the 1929 USSR Art and Crafts Exhibition in New York and the International Fur Exhibition in Leipzig. In preparation for these exhibitions, the designer returned to the theme that had inspired her since 1925–1926, focusing on costumes based on the traditional clothing of the peoples of the North. Fur outfits had featured in her collections before this, both in the pre-revolutionary period and in the early 1920s. Ethnic motifs in trim and fur trim were in constant demand, combining elegance and practicality – this is precisely what inspired Lamanova and met the expectations of the authorities. Therefore, her fur collection was enthusiastically received both in Leipzig and New York.

In 1928, Lamanova, together with Evgenia Pribylskaya and the Handicraft Group of the Decorative Committee of the State Academy of Artistic Sciences, organized an exhibition entitled "Handicraft Fabrics and Embroidery in Modern Women's Clothing." This wasn't Lamanova's first attempt to showcase costumes made from handicraft fabrics created in village workshops. Nevertheless, the exhibition provided her with a unique opportunity to present her theoretical program and principles of costume design to specialists in the field. The exhibition drew attention to the importance of handicrafts and their role in fashion, and also demonstrated Lamanova's innovative approach to design.

• What is the purpose of a suit - its purpose.
• What is a suit made of - its material.
• Who is it made for - the figure.
• How it is made - its form.
• The purpose of a suit determines the material.
• The material determines the form.
• The shape, in turn, determines the material.
• The shape determines the color.
• The form determines the material.
• The form determines the ornament.
• The form determines the rhythm as the one that coordinates these elements.
• Ornament as the connecting material.
• Ornament as the connecting color.
• Ornament as the constructing form.
• Ornament as the constructing heaviness.
• Ornament as a breakdown of the plane in both artistic and constructive respects. The shape of the rectangle is determined by the material (in this exhibition, canvas).
• Economy of material. No waste in the construction of the costume.
• Form that provides freedom of movement.*****

Lamanov's principles had a significant influence on the art of costume design, bringing revolutionary changes that have remained relevant for decades. These principles echo the concepts of constructivist artists, as well as the design of Varvara Stepanova's tracksuits and Alexander Rodchenko's emblems. The influence of Laman's ideas on modern fashion and costume design continues to be felt, emphasizing the importance of integrating functionality and aesthetics in the textile industry.

In her article "Simplicity and Practicality in Clothing", published in the magazine "Krasnaya Niva" in 1923, Esther A. examines the important aspects of choosing clothing, focusing on its functionality and comfort. The author emphasizes that in the modern world, simplicity in clothing has become an integral part of style, allowing a woman to feel confident and comfortable in any situation.

Practicality determines not only the choice of material but also the silhouette, which makes clothing universal for everyday use. Esther A. also notes that modern trends lean towards minimalism, where the emphasis is on the quality and durability of products, rather than excessive decoration. This approach helps create a harmonious wardrobe that is easy to combine, which is an important aspect for modern women striving for comfort and style.

The article emphasizes the importance of conscious clothing choices, which contribute not only to a sense of comfort but also to the sustainability of fashion. In a rapidly changing world, Esther A. suggests reconsidering our approach to fashion and focusing on timeless values—simplicity, functionality, and quality.

D. Yu. Ermilova presents a textbook, "The History of Fashion Houses," designed for university students. This third edition, revised and supplemented, was published in 2019 in Moscow by Yurait Publishing House. This textbook examines key aspects of the history of fashion houses, their influence on the fashion industry, and cultural trends. The book is an essential resource for the study of fashion history and the development of design art, making it an indispensable reference for students and teachers of fashion and design.

Trickery and imitations are nothing new: wooden buttons painted gold and silver, as well as colored beads, had long been used on the theater stage. However, the proposals of Russian designers in 1925 stood out for their exoticism and freshness, which made them particularly noticeable and memorable.

The A. A. Bakhrushin State Center for Theatre Arts (SCTT) preserves the unique documentary legacy of N. P. Lamanova, presented in the manuscript department. The analysis of these materials, conducted by A. A. Kuznetsova and O. G. Sanin, illuminates important aspects of Lamanova's work and influence on the development of theatrical art in Russia. The study was published in the journal "History and Archives" in 2022, in the first issue, pages 118-140. This document is a valuable source of information for scholars and researchers interested in theater history and archival studies.

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Armand T. presents "Fabric Ornamentation: A Guide to Fabric Painting," published in Moscow and Leningrad in 1975 by Academia Publishing House. This guide is a valuable resource for artists and designers involved in textile art. The book provides a detailed examination of fabric painting techniques, the choice of materials, and tips for creating unique patterns. This publication will be useful for both beginners and experienced craftsmen seeking to improve their textile painting skills and expand their creative horizons.

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