Robe with a Dragon. Excerpt from the book "Poems and Things"

Contents:

Alpina Non-Fiction Publishing House has released Ekaterina Gorpinko's book "Poems and Things: How the Poets of the Silver Age Became Style Icons." In this work, the author explores the attire worn by such outstanding poets as Sergei Yesenin, Anna Akhmatova, Marina Tsvetaeva, and Vladimir Mayakovsky. We present an excerpt from the book detailing Anna Akhmatova's home style.

The silk robe with a dragon motif, recalled by the artist, became a signature feature of Anna Akhmatova's home style. She preferred Japanese kimonos in black, dark red, and dark steel. Underneath the kimonos, she wore silk "podryaski" in lighter shades of the same palette. As writer Viktor Ardov noted, no one but Anna Andreyevna looked so good in this understated cut and deep colors, as well as the heavy texture of the fabrics. Kimonos likely entered Akhmatova's wardrobe after her third husband, art historian Nikolai Punin, traveled to Japan. Later, kimonos were brought to her by relatives: after the war, her son Lev Gumilyov brought them from Germany, and in the 1960s, her younger brother, Viktor Gorenko, brought them from America. The lilac robe-cassock mentioned earlier was likely also a kimono, but was called a dressing gown.

Japanese kimonos, originally intended for home wear, later became popular as evening wear, especially in the early 20th century. The Art Deco era brought with it a fashion for orientalism, which remained relevant and in demand for a long time. Sergei Diaghilev's "Russian Seasons" had a significant influence on the spread of this fashion, which continues to inspire modern fashion designers. In his works, such as "The Master and Margarita," Mikhail Bulgakov mentions the fashion for silk robes and oriental-style pajamas. He describes how women rushed onto the stage dressed in ball gowns and pajamas with dragons, which emphasizes the interest in exoticism and artistry of that era. In this context, kimono and oriental fashion occupy an important place in the history of the fashion industry, reflecting the cultural trends and preferences of their time.

French couturier Paul Poiret recommended that fashionable women wear pajama-style bloomers and bright turbans. Anna Akhmatova followed this advice, and in this photograph, she is depicted wearing a velvet headdress. "For her life in Moscow, she took with her a bright red pajama set by Punin, which emphasized her tall stature and slender figure," recalled fashion expert Emma Gerstein of Akhmatova's bold look. This style has become a symbol of her unique approach to fashion, combining comfort and elegance.

Anna Andreyevna always strove to look elegant, even at home. She wore her favorite robes until they were completely worn out and wasn't embarrassed by their dilapidation. In "Notes on Anna Akhmatova," Lydia Chukovskaya notes that her black kimono with a dragon, despite its damage—a torn seam from the armpit to the knee—didn't cause her any discomfort. This kimono became a symbol of her style: even with such a tear, Anna Andreyevna could afford to go out. Vitaly Vilenkin, a theater historian, also described her unusual attire: at first he thought she was wearing something very elegant, but in fact it was an old black silk robe embroidered with dragons, which had noticeably lost its original appearance. Thus, Anna Akhmatova's style embodied a combination of beauty and casualness, which only emphasized her individuality and creative approach to life.

Anna Andreyevna Akhmatova owned several old kimonos, as Anatoly Naiman recalls. Some may consider it indecent and impolite to visit guests in tattered clothing or to greet them in such a manner. However, this was not the case with Akhmatova. She wore a shabby, long garment, perhaps a shawl or an old kimono, reminiscent of the light rags a sculptor drapes over a finished sculpture. This impression remained in Naiman's memory for many years, especially in the context of Akhmatova's comments about Modigliani, who believed that women worthy of inspiration looked awkward in dresses. Akhmatova, with her unique style and approach to life, left a lasting mark on literature and art, and her image, even in simple clothing, testifies to a deep inner world and creative individuality.

Even a simple outfit can reveal poetry; the only thing that matters is who wears it. The same black kimono resurfaces in the memoirs of Lydia Chukovskaya. Worn with a new white collared nightgown, it transforms Akhmatova's appearance and evokes surprising associations: "She began to resemble both Byron and Mary Stuart." This contrast in the outfit emphasizes the uniqueness of Akhmatova's style and creative individuality, making her image unforgettable.

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