MODERNITY, TEMPORALITY AND SOVIET FASHION IN LENINGRAD DURING THE 1950S AND THE 1960S

E. S. Platonova
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Abstract

The article examines the process of clothing design at the Soviet official fashion institution, the Leningrad Fashion House, in the late 1950s and early 1960s. Based on the archival materials and visual sources, the research aims at exploring Soviet fashion as a manifestation of modernity. One of the key ideological and political agendas of the state leaders of that period was the aim to overcome backwardness. However, compared to Western fashion design, Soviet clothing always looked “frozen in time”. The article investigates the specifics of temporality of Soviet fashion. The analysis of unique sources exhibits that Soviet fashion had several temporal orders. The first temporal order was formed due to the different speeds of design and production. Class, social and cultural inequalities influenced the formation of various fashions in the Soviet Union, which could retard from each other. Soviet designers did not set themselves the goal of creating a completely alternative variant of modern fashion. Understanding of modernity was shaped by the transnational entanglements of ideas and practices, as Western fashion remained the major reference point for what it meant to be modern. The key theoretical result of the article is that, being in different temporalities, Soviet fashion indicated different dimensions of modernity.
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20世纪50年代和60年代列宁格勒的现代性、时代性和苏联时尚
本文考察了20世纪50年代末和60年代初苏联官方时装机构列宁格勒时装屋的服装设计过程。本研究以档案资料和视觉资料为基础,探讨作为现代性表现形式的苏联时装。那个时期国家领导人的主要意识形态和政治议程之一就是克服落后。然而,与西方的时装设计相比,苏联的服装总是看起来“凝固在时间里”。文章考察了苏联时尚的时代性特点。对独特资料的分析表明,苏联时装有几个时间秩序。第一个时间顺序是由于设计和生产速度的不同而形成的。阶级、社会和文化的不平等影响了苏联各种时尚的形成,这些时尚可能相互阻碍。苏联设计师并没有为自己设定一个目标,即创造一种完全另类的现代时尚。对现代性的理解是由跨国思想和实践的纠缠所塑造的,因为西方时尚仍然是现代意义的主要参考点。本文的主要理论结论是,在不同的时代,苏联时装表现出不同的现代性维度。
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35
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