Soviet fashion model of the 60s. KGB and fashion: how the stars of the podium of the USSR lived and how they ended. "The most beautiful weapon of the Kremlin"
The profession of a model, so popular in the modern world, was considered not prestigious. Models were called "clothes demonstrators", and their salary did not exceed 76 rubles.
And yet there were beauties who managed to build a career - one at home, the other abroad. Faktrum publishes a selection of Soviet top models.
Regina Zbarskaya
One of the most famous and legendary fashion models of the 60s, Regina Zbarskaya, after a stunning success abroad, returned to the USSR, but never found "her place" here. Frequent nervous breakdowns, depression, antidepressants led to the fact that she lost her job. As a result of failures in her personal life and professional failure, the most beautiful woman in the country committed suicide in 1987.
Galina Milovskaya
Galina Milovskaya was called Russian "Twiggy" - because of thinness, uncharacteristic for fashion models of that time: with a height of 170 cm, she weighed 42 kg. In the 1970s, Galina conquered not only the Moscow podium, but also foreign ones. She was invited to shoot in Vogue, in 1974 she emigrated and stayed in London. She married a French banker, left her modeling career, graduated from the Sorbonne film direction department and became a documentary filmmaker.
Tatyana Solovieva
Perhaps one of the most prosperous and successful was the fate of Tatiana Solovieva. She came to the House of Models by chance, according to an advertisement. Tatyana had a higher education, which is why the nickname “institute” stuck to her.
Later, Solovyova married Nikita Mikhalkov and still lives with him in a happy marriage. Although the profession of a fashion model was so unpopular that Mikhalkov at first introduced his wife to everyone as a translator or teacher.
Elena Metelkina
Probably everyone remembers a woman from the future - Polina - who helped everyone's favorite Alisa Selezneva in the film "Guest from the Future". Few people know that this role was brilliantly played by fashion model Elena Metelkina. Her unearthly appearance contributed to the fact that she played more than one role in the movie - in the movie "Through Thorns to the Stars", for example, it was the alien Niya.
The sixties are the time of a revolution in fashion, in music, the very consciousness of a person turned upside down. The conservative post-war 50s gave way to the era of the Beatles. Bold attractive girls in mini-skirts with bright make-up and incredible hairstyles took to the streets to loud music. Like every time, the 60s had their heroines and style icons, women who were imitated in the manner of dressing, in hair and makeup. In this article we will talk about the models of the 60s.
Her real name is Leslie Hornby. World famous model, actress and singer from the UK. She received her pseudonym "Twiggy" for her incredible thinness (translated from English twig - reed, twiggy - thin). The future model was born in the suburbs of London in 1949.
At the age of 16 she became the face of a beauty salon. At 17, the Daily Express named her Face of the Year. She worked with cult photographers of the 60s: Helmut Newton and Cecil Beaton. She is called the first supermodel in the history of the fashion business. In 67-68, Mattel even produced Barbie Twiggy. She initiated a fashion for a very thin, childish body, which caused a wave of anorexia, girls wanted to be like her.
Her style is a cocktail of rock and roll, hippie culture, punk paraphernalia. She is like a child, like a big doll. Short skirts on her did not look defiant, but very cute, as if on a schoolgirl. Twiggy made the boyish haircut incredibly popular, against the background of the complex "Babylon" and "Babbet" it looked more than original. In makeup, she focused on her huge eyes, trying to visually enlarge them even more. Twiggy painted her eyelashes very thickly with mascara, painting over even the lower eyelashes, so that they practically stuck together, creating an absolutely doll-like impression. She emphasized the moving crease of the eyelid with a dark tone, which made her eyes simply huge. At the same time, eyebrows and lips were as natural as possible, and delicate porcelain skin acted as a backdrop for bright eye makeup.
German model Veruschka is actually blue-blooded, she is the nee Countess Vera Gottlieb Anna von Lendorf. Nazi meetings were held in their possessions during the Second World War, but later, her father appeared before a military court and was executed, and little Vera, with her mother and sisters and brothers, ended up in a concentration camp, where the family's surname was changed.
Vershuka's first serious contract as a model was with the American agency Ford Models, to which she was invited when she moved to work in Paris. After that, she leaves to work in America, but soon comes from there with nothing. Returning to her homeland, in Munich, she becomes famous, starring in a short episode of Antonioni's legendary painting "Blowup". Photographer Franco Rubartelli discovered her as a big model with a series of avant-garde photographs. After that, she worked with the great provocateur Salvador Dali. During her career, she has appeared on more than 800 magazine covers!
The experience of working with Dali did not go unnoticed for the formation of her style. It was very unexpected and avant-garde even for the revolutionary fashion of the 60s. Having met the artist Holger Tryuch, Verushka found not only a husband in his face, but also a colleague in creativity, with whom they created body painting masterpieces. We can admire ingenious photographs where Verushka becomes part of nature or architecture, merging with the landscape around her. It is interesting that in life she preferred black in clothes, which acted as a frame for her body, which became a real canvas for her husband's paintings.
Jean Shrimpton
British model Jean Shrimpton was born at the height of the war in 1942, in Buckinghamshire. At the age of 17, she met director Saem Endfield, who opened her way to the big modeling business. She entered modeling school and very soon looked from the covers of such glossy monsters as Harper`s Bazaar "and Vogue. As in the fate of many models, her meeting with photographer David Bailey turned out to be very important and fateful in her life, who made her wildly popular.
She was called the most beautiful model in history. She was really good, all her parameters were perfect, big eyes, thick hair, easy gait. She also had the title of "highest paid model." Jean was very fond of miniskirts and made them incredibly fashionable.
Her face was recognized as the standard of beauty. For almost her entire modeling career, she exploited the image of the “scared doe,” as many called it. Her charming bangs, high bouffant made her features even more pretty. Eyebrows raised in eternal surprise made the face even younger, it turned out such a slightly capricious, but very beautiful Jean doll.
Marisa Berenson
The daughter of an American diplomat, Marisa Berenson, has been accustomed to living beautifully since childhood. She was born into a wealthy and famous family. Her love for fashion was passed on to her by her grandmother Elsa Schiaparelli, an artist and fashion designer who chose surrealism as a means of expressing her thoughts.
The beginning of her career was very loud, she almost immediately got on the covers of Vogue and Time magazines. But being just a model was not enough for her, born in such a famous family, and she began to realize herself as an actress. Marisa has starred in a large number of films throughout her career. Marrisa's life ended tragically - she was a passenger on one of the planes hijacked on September 11, 2001.
Her image, which pops up in memory, is, first of all, a mane of hair framing a beautiful face. Her bottomless eyes, always with "a little too" painted lashes, were her calling card. She knew how to very skillfully present classic things and at the same time look in absolutely avant-garde outfits as if she was born in them - this is a real gift of the model. Her makeup must-haves are colored eyeshadows, eyeliners, mascaras and false eyelashes.
The unusual appearance of the model is remembered at first sight. Thick straight bangs like a little pony, huge eyes, porcelain skin with a scattering of freckles and plump lips, which she liked to emphasize with the shine of delicate shades. Come to think of it, she was the girl that the Beatles and Eric Clapton sang about. Of course, everyone wanted to be like her. She borrowed a lot from the hippies, in the style of clothes, hair, makeup, wore floral prints, flying dresses, braided her golden hair in pigtails, wore funny round glasses.
Follow the fashion blog from FACE nicobaggio, we will tell you the most interesting things about the history of fashion and makeup, remember the most beautiful and influential women in the fashion industry, tell you about the men who create beauty.
How did the models live in the era of the "Khrushchev thaw"? What conquered foreigners a simple fashion model from the USSR Regina Zbarskaya? Why was she nicknamed "Soviet Sophia Loren"? And how did they make Soviet spies out of fashion models? Read about it in the documentary investigation of the Moscow Trust TV channel.
Soviet Sophia Loren
1961 An international trade and industrial exhibition is taking place in Paris. The USSR Pavilion is a great success with the public. But Parisians are attracted not by combines and trucks, but by the achievements of the Soviet light industry. The best fashion demonstrators of the Moscow House of Models shine on the podium.
The next day, an article appears in the Paris Match magazine, in the center of which is not the leader of the country of the Soviets, Nikita Khrushchev, but Regina Zbarskaya. French journalists call it the most beautiful weapon of the Kremlin. Detractors in the USSR immediately accuse the successful fashion model of having links with the KGB. Until now, the fate of the beauty from the Kuznetsk bridge is shrouded in mystery.
Federico Fellini calls Regina Zbarskaya the Soviet Sophia Loren. Her beauty is admired by Pierre Cardin, Yves Montand, Fidel Castro. And in 1961 Paris gave her a standing ovation. A fashion model from the USSR appears on the catwalk wearing boots designed by fashion designer Vera Aralova. In a few years, all of Europe will be wearing these, and Western couturiers will dream of working with Regina.
Regina Zbarskaya
"She was really very cool. She knew several languages, played the piano superbly. But she had a peculiarity - her legs were crooked. She knew how to put them in such a way that no one had ever seen it. She showed superbly," says clothes demonstrator Lev Anisimov .
Lev Anisimov came to the All-Union House of Models in the mid-1960s, according to an announcement. And it stays for 30 years. The spectacular blond is not afraid of competition - there are few people who want to walk the catwalk, the profession of a clothing demonstrator in the USSR is among those condemned. Spectacular fashion models and fashion models from the Kuznetsk bridge instantly become the object of rumors and gossip.
“A male fashion model - of course, the idea was that it was easy work, easy money. Moreover, they believed that it was a lot of money. For some reason, they considered them to be black marketers, although there were a huge number of them in Moscow, not fashion models,” says Anisimov.
Anisimov is a member of all Soviet delegations. Among the girls, only Regina Zbarskaya can boast of this. They whisper behind her back: some kind of provincial, and she goes abroad most often, and there she walks around the city alone, unaccompanied.
"Who knows, maybe she was put in a group so that she would give information on how someone behaves - if a person is connected with the KGB, he does not talk about it," Lev Anisimov believes.
"Naturally, there was a stereotype that the most beautiful models, who were models at these exhibitions, had a direct connection with the espionage business," says secret services historian Maxim Tokarev.
Alexander Sheshunov meets Regina at the Vyacheslav Zaitsev Fashion House. Then, in the early 1980s, Zbarskaya no longer appears on the podium, she lives on memories alone. And the brightest of them are connected with trips abroad.
“Moreover, she was released alone! She flew to Buenos Aires. She had two suitcases of sable coats and dresses. Without customs, as personal items. Sheshunov.
Catch up and overtake
In the late 1950s, the Khrushchev thaw was at its height in the USSR. The Iron Curtain opens to the West. In 1957, at a meeting of agricultural workers, Nikita Sergeevich pronounces his famous "catch up and overtake!". Khrushchev's call is picked up by the whole country, including the designers of the House of Models on the Kuznetsky Most.
"The task of the House of Models was not just to create fashionable, beautiful things. It was an intellectual and creative work to create the image of a contemporary. But the artists of the House of Models did not have the right to their own name. There was one name: "The creative team of the House of Models" Kuznetsky Most ", - tells the artist Nadezhda Belyakova.
Moscow. During a fashion show, 1963. Photo: ITAR-TASS
Nadezhda Belyakova grew up in the workshops of the House of Models. It was there that her mother, Margarita Belyakova, created her hats. In the 1950s, clothing demonstrators shine in them at shows. Frequent guests of the fashion show, representatives of factories, carefully select models for production. But locally, it is not the original style that is valued, but the simplicity of execution. Down with all unnecessary details - the artist's intention changes beyond recognition.
"They chose models in the form in which the artist created them, and then thought about how to save money, how to replace the material, how to remove the finish. Therefore, they had an indecent, but very famous expression:" Introduce your ... model to the factory! ”, - Belyakova says.
Alla Shchipakina, one of the legends of the Soviet podium. For 30 years, she commented on all the demonstrations of the Model House.
"The strap will not work - a big waste of fabric, the valve too - make a welt pocket" - we were very squeezed, so the brains worked very well, "says art critic Alla Shchipakina.
“Very talented artists worked, but their work remained in line with views to represent the USSR all over the world as a country where intellectuals live, the most beautiful women (which, in fact, is the purest truth), that is, it was an ideological work,” says Hope Belyakova.
The All-Union House of Models does not set any commercial goals. Clothes from the catwalk never go on sale, but wives and children of the Kremlin elite and members of delegations sent abroad flaunt in it.
"Exclusive production, on the verge of creativity, a little anti-Soviet, and generally closed, elitist, something that is not necessary for mass production at all. Unique things were made from expensive materials. But all this was done for the prestige of the country, for demonstration abroad at international industrial exhibitions ", - says Alla Shchipakina.
The idea to take out Soviet fashion, and with it our beauties, to international exhibitions belongs to Khrushchev. A frequenter of closed shows of the House of Models, Nikita Sergeevich understands that it will not be difficult for beautiful girls to form a positive image of the country. And it really works - thousands of foreigners come to see Russian fashion models. Millions dream of meeting them.
“Naturally, along with the defile, as a rule, group ones, they also carried another burden. If it was an international exhibition, in their free time the girls were at the stands to attract looks, participated in protocol events and receptions,” says Maxim Tokarev.
“I often saw beautiful women sitting in the front row as a background at receptions. This had an effect on foreigners - girls were invited to sign contracts,” says Lev Anisimov.
Imaginary luxury
For the girls themselves, a trip abroad is perhaps the only plus in their work. Fashion models cannot boast of light bread. Three times a day they go to the podium, spend 8-12 hours in fitting rooms, and in terms of a salary of 70 rubles, a clothing demonstrator is equal to a worker of the fifth category, that is, to a tracklayer. In those years, only a cleaner gets less - 65 rubles.
“When I arrived in 1967, I received 35 rubles, plus progressive - 13 rubles, plus trips of 3 rubles. In general, I got up to 100 rubles,” recalls Anisimov.
Fashion show in Moscow, 1958. Photo: ITAR-TASS
There is no woman in the Soviet Union who does not dream of French perfumes and imported linen. This luxury is available only to ballet stars, cinema and beauties from the Kuznetsk bridge. They are among those few who travel abroad, only they do not take everyone on these trips.
“We traveled very little abroad, with difficulty, it was several commissions: at the Bolsheviks, in the Chamber of Commerce, in the Central Committee, in the district committee - 6 or 7 instances had to be passed in order to leave. Models even wrote anonymous letters to each other,” says Alla Shchipakina.
In the late 50s, Regina Kolesnikova (this is her maiden name) did not miss a single test at Mosfilm. The daughter of a retired officer, she has been dreaming of the stage since childhood. But the girl from Vologda does not dare to go to acting, she enters the Faculty of Economics of VGIK. The provincial origin haunts her, and she composes a legend for herself.
“She said that her mother was a circus performer, and that she crashed. Regina, indeed, was an orphan, and she had a difficult childhood. She was one of those who are said to be “self-made,” says Nadezhda Belyakova.
Regina is noticed by fashion designer Vera Aralova and offers to try herself as a clothing demonstrator in the House of Models on Kuznetsky.
“She saw in her a new emerging image. Regina, indeed, as an actress, tries on the image, and it becomes her essence, so Regina Zbarskaya embodied the image of a woman in the mid-60s,” says Belyakova.
The Soviet government skillfully exploits this image at international shows. Candidates for trips abroad by participants of the Moscow Fashion House are approved by KGB Major Elena Vorobey.
“She was the deputy director of the inspector for international relations. Such a funny aunt, with humor, such a round, plump one. Of course, she was a snitch, followed everyone, followed discipline. She reported very funny about her arrival: “Sparrow has arrived,” recalls Alla Shchipakina .
Swinging iron curtain
On the eve of departure, Elena Stepanovna personally instructs the girls. All selected fashion models are not only good-looking, they speak one or more foreign languages, and can easily support any conversation, and upon returning to their homeland, retell it verbatim.
“She said: “Foreigners come up to us, then you must provide me with a detailed dossier of what they said.” I answer: “I don’t know how to do this.” She: “What do you mean, it’s hard to write down what they say, what they ask what they like, what they don't like? Nothing difficult, this is creative work," says Shchipakina.
"The acquaintances that the girls could not even make on their own initiative, later became the subject of the use of special services, simply for the purpose of lobbying for some transactions of foreign trade organizations," Maxim Tokarev says.
Lev Zbarsky
But there were cases when the special services did everything to forbid the girls to communicate with foreigners. During a trip to the United States, Rockefeller's nephew fell in love with fashion model Marina Ievleva. He comes to Moscow twice to woo the beauty. After some time, Marina receives a warning: if you go to the West, your parents will be in prison. The Soviet authorities did not want to part so easily with their secret weapon - the most beautiful women in the country.
The fate of Regina Kolesnikova was easier. “She saw Leva Zbarsky somewhere - it was the Moscow elite, amazing, wonderful artists. And Regina said: I want to meet Leva,” says Alla Shchipakina.
Lev Zbarsky immediately proposes to Regina. Some admire them, call them the most beautiful couple in Moscow, others envy them.
"There were conversations because she liked her - once, many artists sewed on her - two, they said that she had an affair with Yves Montand. But at the same time, it was so difficult to meet a foreigner that they began to talk about her connections with the KGB," says Lev Anisimov.
Rumors about Regina's romance with a famous actor and Zbarsky's frequent betrayals are gradually destroying their marriage. Soon Lev leaves his wife, and she starts an affair with a Yugoslav journalist. After their short relationship, the book "One Hundred Nights with Regina Zbarskaya" is published. A recent fan cites the fashion model's negative statements about Soviet power.
“We didn’t read the book, but we knew what was in it. Maybe she said something to him, but there was no need to write it - he knew Soviet life very well. They began to call her regularly about this. She tried several times to commit suicide life by suicide, and then mental problems began. She was left alone, Levka left her, went to Maksakova, then left. Everything spun like a snowball, "says Alla Shchipakina.
In the 70s, clothing demonstrators retired at 75. Along with thin women, women of 48 and even 52 sizes walked the catwalk. After a course of treatment, the aged and plump Regina tries to return to the Kuznetsky Most, but this is no longer possible. Regina is summoned to the KGB. After another interrogation, she makes a second suicide attempt and again ends up in the hospital.
"They wanted to recruit her, but how? It was a double job, it was necessary to give information, but what kind? So that no one was hurt. It was internal self-destruction," Shchipakina argues.
Nadezhda Zhukova came to the Model House in the late 70s. At that time, new types came into fashion.
“When I first arrived, the girls were almost half a head smaller than me, miniature, fragile, with small shoulders, feminine. And just at that time they began to select girls who were more athletic, large, tall. Probably, it was preparation for the Olympics ", - recalls clothing demonstrator Nadezhda Zhukova.
Nadezhda recalls that in those years, not one of the Soviet fashion models becomes a defector, which cannot be said about ballet stars. So, in 1961, the soloist of the Leningrad Theater Rudolf Nureyev refused to return from Paris, and in the 70s the theater lost Natalia Makarova and Mikhail Baryshnikov - they also preferred abroad.
“Basically, the fashion models were married women who were held, able to behave, trustworthy. Of course, they did not pursue the goal of emigrating, it allowed them to be sweet, smiling, knowing their own worth,” Zhukova says.
An unknown death
Soviet fashion models emigrate officially. So, in 1972, Regina's main competitor, Mila Romanovskaya, left her homeland. Once, at an exhibition of light industry in London, she was entrusted with wearing the famous "Russia" dress. And in the 70s, Berezka (as she is called in the West), following her husband, the famous graphic artist Yuri Kuperman, leaves for England. Before leaving, the spouses are invited to the Lubyanka.
“There was an interest that emigrants there refrain from loud anti-Soviet campaigns. A beautiful woman, if she delivered a lecture on the restriction of human rights or the departure of Jews from the USSR, could cause serious damage to Soviet interests. That is, most likely, they had a conversation with her, so that it does not harm so much," Maxim Tokarev believes.
Another blonde from the House of Models, Russian Twiggy, Galina Milovskaya, ended up in the West against her will. The blond beauty became the first Soviet model whose photo was printed on the pages of Vogue. In one of the pictures, Galina is sitting in trousers on Red Square with her back to the portraits of the leaders. The girl was not forgiven such liberties and was excommunicated from the podium.
Regina Zbarskaya
“After this photo shoot, she was not just fired from the Model House, she was forced to leave the USSR,” says Tokarev.
In 1987, the prima donna of the Soviet catwalk Regina Zbarskaya passed away. According to one version, she died in a psychiatric hospital from a heart attack, according to another, she died at home all alone. In recent years, only the closest friends were next to the former fashion model. Among them - Vyacheslav Zaitsev.
"Vyacheslav Mikhailovich took her to his House of Models when she left the psychiatric hospital," says Lev Anisimov.
Where and when the queen of the House of Models Regina Zbarskaya was buried is unknown. After death, every fact of her biography becomes a legend.
“She was an ordinary girl, Kolesnikov’s last name, they called Regina, or maybe she remade from Katerina. But fantastic beauty! Maybe it was her destiny to endure so much suffering for her beauty,” says Alla Shchipakina.
In the late 1980s, the Cold War came to an end. To go abroad, you no longer need to receive the approval of the Central Committee of the Party and be instructed by the KGB. The generation of the first top models also goes into the past. It was they who discovered the beauty of Soviet women to the West.
But while Paris, Berlin, London gave them a standing ovation, in the homeland of the girls from the Kuznetsk bridge they called informers behind their backs. The envy of colleagues and constant control by the secret services - this is the price that each of them had to pay.
In the 1960s, a cultural revolution rages in the Western world. America has been going crazy about Presley for several years, and Beatlemania is starting in Europe. The entire beautiful half of humanity exposes obscenely graceful legs, men begin to grow their hair, clothes are full of unusually bright colors and take on defiant forms. The explosion of the cultural revolution in the West is so strong that its echo penetrates even behind the Iron Curtain.
By this time, only a small part of the population of our country had a real idea of what was happening in the fashion world there - abroad. For most of the country, the very concept of fashion did not exist at all. Of course, those held in Moscow International Festival of Youth and Students in 1957 and Christian Dior's first fashion show in 1959, they brought a fresh spirit into the life of Soviet people, but, unfortunately, only a few citizens of the USSR had a chance to take part in these events “live”, while the rest had to get acquainted with them through the pages of newspapers and radio programs, which at that time were ideologically politicized. But even a small handful of eyewitnesses and the Khrushchev thaw standing on the street were already enough for people in our country to start talking about what had been forgotten for several years. In our country, they began to talk about fashion again. The desire to look beautiful has always existed in a person, especially for women. Despite the time in which they live, despite the social system, status and other factors, women have always dreamed of being charming. Unfortunately, in the early 60s, an ordinary Soviet woman did not have even a tenth of the opportunities to transform that Western beauties had. The light industry of the USSR seemed to continue to stamp clothes for the soldiers of the Red Army, guided only by the State Planning Commission: a lot, the same and tasteless. Naturally, it was unrealistic to take good clothes on the shelves of the Soviet trade. In addition, the very fashion and culture of dressing well was not welcomed by the official ideology, and the most active fashionistas - dudes were prosecuted under Article 58 of the Criminal Code for anti-Soviet activities.
All fashionable gizmos and magazines could enter our country only illegally from abroad and only thanks to a few foreign business trips of diplomats, long-range aviation pilots and sailors. It was very rare for stores to “throw away” products from friendly socialist countries of Eastern Europe, which were immediately followed by long queues. Such clothes were sold almost by the piece - “they released one item per hand” and called the terrible word “deficit”. The deficit in the Soviet state was not so much fashionable clothes as a beautiful and carefree life in general.
In those years, it was common for our country to export to the West not only natural resources, but also the image of a happy person living in a socialist country. For greater credibility, Soviet officials organized open exhibitions of the achievements of the national economy, including fashion shows. There was a mythical experimental workshop on Kuznetsky Most, where fashion masterpieces, if not loud, were created, which were applauded in Paris in 1962, and a year later Rio de Janeiro. Semi-closed fashion shows were also held, along the catwalk of which fashion models of that time, such as Yanina Cherepkova, Mila Romanovskaya, Liliana Baskakova, Regina Zbarskaya, Galina Milovskaya.
It is not known exactly thanks to or in spite of whom, but the world fashion trends in the early 60s begin to penetrate thin streams into our country. In the 61st year, Soviet women for the first time “get acquainted” with stilettos. This name was given to elegant women's shoes with high thin heels, which reached a meager 6 × 6 or 5 × 5 millimeters at the base.
It was uncomfortable to walk in stilettos, they left deep marks in the fresh asphalt, due to fashionable heels getting into the slot between the steps, subway escalators stopped, but women stubbornly continued to put on pointed stilettos.
There was probably no sexier uniform for a woman in the 60s than a tight black sweater, tight skirt, and the obligatory stiletto heel. Even in winter, even to work and always on a date, girls ran in stilettos to be brilliant and fashionable. It was one of the first victims of beauty, which women of the 60s voluntarily agreed to. By the way, the once ultra-modern hairpin not only did not go out of fashion over time, but also turned into a classic.
The 60s were remembered by the whole world of fashion and socialist fashionistas, including insanity on the basis of everything artificial. New fabrics and new names: nylon, lycra, crimplen, vinyl, dralon and other “-lons”, “-lans”, “-lens”. Clothing made from new types of fabric was considered comfortable and practical. She did not wrinkle, was easily cleaned and washed. And most importantly, it was cheap.
Beginning in 1962, Soviet citizens first got acquainted with the dark blue Italian coats of Bologna. The Italians used this material for work clothes.
He conquered us with his novelty and the fact that when folded, clothes made of such material almost did not take up space.
In the mass consciousness of the Soviet people, there was a conviction that every self-respecting person should have a Bologna raincoat. In the Soviet Union, the Bologna psychosis lasted for a whole decade and gave birth to such an unthinkable concept throughout the world as a summer coat. Over time, the production of raincoats, flowing at the seams and at the same time serving as a greenhouse in any weather, was also mastered by the domestic light industry.
Now it's hard to believe, but in the 60s there came a period when natural fur, inaccessible and unattainable for the majority of the population, began to seem boring, undemocratic and “mossy”. The fashion for faux fur coats and fur has captured absolutely everyone, even people who have the opportunity to buy things from natural fur. Literally for several years, all Soviet women of fashion dressed in fur coats made of artificial mink, and men began to wear hats made of artificial astrakhan fur. The fashion for faux fur ended as suddenly as it began, and the next fashion trophies joined the ranks of the ever-growing wardrobes.
In 1964, nylon shirts became widespread in the USSR. Unlike obsolete cotton, strong and fashionable nylon seemed to be the absolute material. Nylon shirts did not wrinkle, were easily washed and, in general, seemed to last forever. White nylon shirts were considered the most chic. A typical portrait of a fashionable young man of the 60s - dark pipe trousers, a white nylon shirt and hair slicked to the top.
In the 67th year saw the light of clothing made of a new synthetic material - crimplene. Clothes made of crimplene do not wrinkle, they do not need to be ironed, it is enough to wash, dry, hang them neatly, and you can wear the thing again. A significant drawback is electrostaticity. Crimplen can sparkle, crackle and stick to the body. They struggled with electrostaticity by mastering the production of antistatic liquids.
Over time, thick woolen coat fabrics began to be produced under embossed crimplain.
Introduced in the late 60s, the mini instantly won the title of the most fashionable women's clothing for a whole decade. Where it was possible (in schools and technical schools), the guardians of morality and the chairmen of the Komsomol cells in the morning measured the length of skirts and the distance from the knees to the skirts with rulers and, if they did not match, sent the students home to change clothes. The short length of the skirt was condemned, ridiculed, forbidden, but it was all useless. Literally in a couple of years, under the onslaught of the beauty of bare female legs, bans on the length of skirts fell and older women could afford to wear a mini. The fashion for short skirts, which so quickly conquered the capital and big cities, sometimes reached the remote corners of our country with many years of delay. It happened that a young student returning home to the countryside for the holidays could not only be ridiculed by her fellow villagers, but also receive a thrashing from strict parents.
In the late 60s, another disaster appeared on the head of fashion conservatives. Absolutely fashionable and relatively indecent phenomenon is a women's trouser suit.
The cut of the first suits, as a rule, is not complicated - the jacket is straight or slightly fitted, the trousers are straight or slightly flared, large metal buttons, collar “Dog ears”. Together with the costume, they wore blunt shoes with thick and not very high heels. In all this outfit, the woman looked like a kind of “sailor”.
A women's trouser suit in the USSR is the beginning of emancipation. Wearing trousers, despite the fashion, was condemned by society as public female smoking. And wearing this costume was like a challenge, like audacity. The executive committees prohibited the appearance in trousers, for example, in clubs. A woman in trousers could not be allowed into a restaurant, just as before they were not allowed in a miniskirt. The exception was the Baltic republics, famous for their loyalty to pro-Western trends in fashion and to women's trousers in particular.
Since at the end of the 60s, industrial knitwear hopelessly lagged behind the increased demands of Soviet citizens, the most skilled half of the female population turned to the science of “two purl - two facial”:
“We knit ourselves” is becoming almost the most popular section in various publications. Cutting and sewing courses are attended by both girls and grandmothers, sometimes you can see men there as well.
In 1965, an event occurred that simply cannot be ignored. Vyacheslav Zaitsev came to work at the All-Union House of Models.
Fashion designer Vyacheslav Mikhailovich Zaitsev and famous fashion model Regina Zbarskaya. 1963
Fashion designer Vyacheslav Zaitsev and fashion model Regina Zbarskaya discuss new models. 1966
He was the first man in the nascent Soviet fashion business. Talented artist, non-standard designer, interested in modern Western fashion trends. He managed to embody the progressive ideas of Western fashion in an original style adapted to the existing reality. Zaitsev became the first and main fashion designer in the USSR. He began to dress our stars. Many of the images he created in the late 60s survived more than one decade.
Soviet models - stars of world catwalks, heroines of enthusiastic publications in Western magazines - received the wages of low-skilled workers in the USSR, sorted out potatoes at vegetable warehouses and were under close attention of the KGB.
The official salary of Soviet models in the 60s was about 70 rubles - the rate of a tracklayer. Only the cleaners had less. The very profession of a fashion model was also not considered the ultimate dream. Nikita Mikhalkov, who married the beautiful model Tatyana Solovieva, said for several decades that his wife worked as a translator.
The backstage life of Soviet fashion models remained unknown to the Western public. The beauty and grace of girls for the top of the USSR was an important card in relations with the West.
Khrushchev was well aware that beautiful fashion models and talented fashion designers could create a new image of the USSR in the eyes of the Western press. They will present the Union as a country where beautiful and smart women with good taste live, who know how to dress no worse than Western stars.
Clothes designed at the Fashion House never went on sale, and the worst curse in fashion circles was "to have your model introduced into the factory." Elitism, closeness, even provocativeness - all that was not found on the streets - flourished there. And all the clothes embodying these features and sewn from expensive fabrics were sent to international exhibitions and to the wardrobes of the wives and daughters of members of the party elite.
Fashion model Regina Zbarskaya was called the “Beautiful weapon of the Kremlin” by the French magazine Paris Match. Zbarskaya shone at the international trade and industrial exhibition in 1961. It was her appearance on the podium that overshadowed both Khrushchev's performance and the achievements of Soviet industry.
Zbarskaya was admired by Fellini, Cardin and Saint Laurent. She flew abroad alone, which was unimaginable in those days. Alexander Sheshunov, who met Zbarskaya already in those years when she worked for Vyacheslav Zaitsev and did not go on the podium, recalls that she even flew to inaccessible Buenos Aires with several suitcases of clothes. Her belongings did not pass customs inspection, the press called her "the slender envoy of Khrushchev." And the Soviet employees of the House of Models almost openly accused her of having links with the KGB. There were rumors that Regina and her husband received dissidents at home and then denounced them.
And now some researchers say that the "vagueness" of Zbarskaya's biography is explained by the fact that she was trained as a scout almost from childhood. So, Valery Malevanny, a retired KGB major general, wrote that her parents were in fact not “an officer and an accountant,” but illegal intelligence agents who had worked in Spain for a long time. In 1953, Regina, who was born in 1936, already spoke three foreign languages, jumped with a parachute and was a master of sports in sambo.
Models and the interests of the country
Rumors about a connection with the KGB were not only about Zvarskaya. All models who went abroad at least once began to be suspected of having links with the special services. And this was not surprising - at large exhibitions, fashion models, in addition to defile, took part in receptions and ceremonial events, carried "duty" at the stands. Girls were even invited to sign contracts - the Soviet model Lev Anisimov recalled this.
Only a select few managed to go abroad: it was necessary to go through about seven instances. There was fierce competition: the models even wrote anonymous letters to each other. The candidates were personally approved by the deputy director of the inspector for international relations of the House of Models, KGB Major Elena Vorobei. Alla Shchipakina, an employee of the House of Models, said that Vorobey monitored discipline among fashion models and reported any violations to the top.
And abroad, the girls' passports were taken away and only the three of them were allowed to walk. In the evening, everyone, as in a pioneer camp, had to sleep in their rooms. And the "availability on the spot" was checked by the responsible for the delegation. But the fashion models escaped through the windows and went for a walk. In luxurious districts, the girls stopped at the windows and sketched the silhouettes of fashionable outfits - for 4 rubles of travel allowance per day, you could buy only souvenirs for families.
Filming with the participation of Soviet models was carried out only after agreement with the ministry, and it was strictly forbidden to communicate with the designers - it was only allowed to say hello. Everywhere there were "art critics in civilian clothes" who ensured that no unlawful conversations were carried on. Gifts had to be handed over, and there was no talk of fees for models at all. At best, fashion models received cosmetics, which were also highly valued in those days.
The famous Soviet model Leka (Leokadiya) Mironova, whom fans called the “Russian Audrey Hepburn,” said that she was repeatedly offered to become one of the girls to accompany top officials. But she categorically refused. For this, she spent a year and a half without work and was under suspicion for many years.
Foreign politicians fell in love with Soviet beauties. Model Natalya Bogomolova recalled that the Yugoslav leader Broz Tito, who was carried away by her, arranged for the entire Soviet delegation to rest on the Adriatic.
However, despite the popularity, there was not a single high-profile story when the model remained a “non-returner” in the West. Perhaps one of the not-so-famous fashion models chose this method - sometimes they recall a certain model that remained in Canada. All famous emigrant models left legally - through marriage. In the 70s, the main rival of Regina Zbarskaya, the dazzling blonde "Snow Maiden" Mila Romanovskaya emigrated to England with her husband. Before leaving, they had a conversation with her in the building on the Lubyanka.
Only Galina Milovskaya, who became famous after a photo shoot on Red Square and in the Armory, was "hinted" about the desirability of leaving the country. In this series of photographs, a photograph was considered immoral, in which Milovskaya was sitting on the paving stones in trousers with her back to the Mausoleum.
It was followed by a picture published in the Italian magazine Espresso, next to the banned poem by Tvardovsky "Terkin in the next world." As Deputy Head of Glavlit A. Okhotnikov reported in the Central Committee of the Party, “The poem is accompanied in the magazine by a series of photographs about the life of the Soviet artistic community.” The series includes: a photograph on the cover of a magazine of the Moscow fashion model Galia Milovskaya, colored by the artist Anatoly Brusilovsky, a photo of Milovskaya in a “nude style” blouse. This turned out to be the last straw. The fashion model went abroad, where she successfully worked by profession, and then married a French banker. If before leaving she was called "Russian Twiggy", then after - "Solzhenitsyn of fashion."
Even if the fashion models did not go to bed with prominent foreigners, they had to memorize all conversations almost verbatim and write detailed reports about them. Usually, the girls selected for the trips spoke several foreign languages and were very sociable. Special services historian Maxim Tokarev believes that the acquaintances made were then used to lobby for lucrative deals.
If “unauthorized” contacts were revealed, the fashion model and her family could face reprisals. This happened with Marina Ievleva, with whom Rockefeller's nephew fell in love. He wanted to marry her, visited the Union several times. But the authorities made it clear to the model that if she leaves, her parents will face a difficult fate.
Not all models had a happy fate after the fall of the Iron Curtain. The catwalks were filled with young competitors, and fashion models from the former USSR ceased to be a “Russian miracle”.