The material contains the most legendary outfits of the heroines of Soviet cinema, which are known all over the world: from Lyudmila Prokofievna’s familiar dress to Zinochka’s outfits created by Vyacheslav Zaitsev.
Anna Sergeevna, “The Diamond Hand”; Lyudmila Prokofievna Kalugina, “Office Romance”; Zinochka, “Ivan Vasilyevich changes his profession”
Fashion and the art of cinema are closely intertwined. It is fascinating, of course, to follow an exciting plot, but when it is also backed up by chic outfits, the impression of the film becomes even more vivid. And no matter what anyone says about the lack of fashion in the USSR, the costumes in the films have always been at the highest level. We tell you about the most iconic dresses of the Soviet cinema, which have gone down in history forever.
Natasha Rostova, “War and Peace” (1965-67)
The case when the outfit is a silent continuation of the heroine. Natasha Rostova, performed by Lyudmila Savelyeva, won the hearts of the audience not only with her innocence and brilliant acting, but also with an Empire-style dress that the girl was wearing in the scene at her “first big ball”. It was a white cover covered with a weightless transparent fabric on top. Undoubtedly, one of the most memorable dresses of the entire Soviet cinema. And even the fact that it is described in the book as pink, not white, did not affect the impression in any way.
Lenochka Krylova, “Carnival Night” (1956)
The heroine of Lyudmila Gurchenko was remembered for the outfits of incredible beauty created especially for the film. Even a person who knows nothing about fashion will immediately understand that they were all made in the New Look style. Wasp waist Gurchenko made a dress made of organza and embroidered with sequins, even more perfect, firmly securing it in the list of cult dresses of Soviet cinema. By the way, it was after the “Carnival Night” that such models confidently “entered” Soviet fashion.
Anna Sergeevna, “The Diamond Hand” (1968)
The famous dressing gown with mother-of-pearl buttons has long been a proper name. After Natasha Rostova’s romantic outfit and Lenochka Krylova’s trendy New Look, Anna Sergeevna’s bold mini from the Diamond Hand was something out of the ordinary for the conservative Soviet viewer. However, this only fueled interest in him and made him one of the most iconic in Russian cinema. For this, it is worth separately thanking Svetlana Svetlichnaya, who herself picked up a dressing gown for her heroine, however, as well as buttons for it.
Lyudmila Sviridova, “Moscow does not believe in tears” (1979)
Everyone’s favorite heroine Irina Muravyeva was an avid fashionista. You can guess as much as you like, for what means a simple bakery worker could afford such outfits, but today it doesn’t matter. The main thing is that they perfectly reflected the character of their owner. We especially remember the first “exit” of Lyudochka Sviridova after a shift at work. A black and white dress in a small cage with a collar from the first minutes of the film set her apart from the rest of the heroines, setting the tone for her entire wardrobe.
Larisa Dmitrievna Ogudalova, “Cruel Romance” (1984)
The costumes of the film “Cruel Romance” were sewn according to all the canons of Charles Worth, an English fashion designer of the XIX-XX centuries, who stood at the origins of high fashion. It was he who suggested to get away from fluffy skirts and made the female silhouette more elegant. It should be mentioned that all three of Larisa Dmitrievna Ogudalova’s main dresses are made in blue in order to emphasize the innocence and tenderness of the girl. Here, for example, is the heroine’s birthday outfit – a dress with lots of ruffles, a braid along the chest and cuffs, a butterfly trim on the chest and a contrasting train. Today, in its restored form, it occupies its place of honor in the Mosfilm Costume Museum.
Cinderella, “Cinderella” (1947)
Cinderella’s dress at the ball in the Soviet film of the same name amazes us not only with its beauty and “grandiosity”, but also with the fact that it was sewn, as they say, from improvised materials during the post-war shortage. The film crew carried everything from the house that could be useful. We can say that Faina Ranevskaya herself had a hand in creating Cinderella’s dress — it was she who gave away the chiffon trimmings that she cherished so warmly. It was from them that the skirt of the outfit was made. But, despite all the difficulties, the dress, indeed, turned out to be luxurious. The satin bodice with embroidery, puffy lantern sleeves, high shiny cuffs and a fluffy skirt are a real costumed fairy tale (in every sense) from childhood.
Lyudmila Prokofievna Kalugina, “Office Romance” (1977)
The blue-and-white dress with a turn-down collar, large buttons and an accent on the waist, in which the heroine of Alice Freundlich changed at the end of the beloved romcom “Office Romance”, was sewn specifically for the filming of the film. However , this did not prevent Soviet women from going to the atelier immediately after viewing and ordering the same for themselves . That’s what a real dress means-a legend of its time. And not only our own, what can I say — we give a standing ovation to the costume designer Edith Priede. Well, the effect of “Die – don’t get up!” has been fully achieved.
Zinochka, “Ivan Vasilyevich changes his profession” (1973)
There is something revolutionary in this truly legendary pink dress in the context of Soviet fashion. Or rather, everything. From futuristic notes to the difference in length in the skirt and geometry in the details. The author of this creation is Vyacheslav Zaitsev, at that time a young designer. It was after this outfit that his well-deserved fame overtook him. He drew inspiration from the works of Pierre Cardin and Andre Courrege.
Gutierrez, “Amphibian Man” (1961)
The famous dress of the heroine of the movie “Amphibian Man” could easily be presented in collections at the last Haute Couture Week in Paris. A belt embroidered with sequins, floral embroidery all over the skirt and a lace insert on the chest – what is not a model for the opening of the Zuhair Murad show, for example? Although, perhaps, no one could have presented it to the general public better than Anastasia Vertinskaya. Accessories in the form of many bracelets and crescent earrings perfectly supported the image of the dark-haired beauty.
Nadia Sheveleva, “The Irony of Fate, or With a light steam!” (1975)
Well, we conclude our list with one of the most recognizable dresses of Soviet cinema, despite all its simplicity and conciseness. Moreover, Barbara Brylska, the performer of the role of Nadia, did not consider it attractive and even refused to act in it. We can imagine what her surprise was when, after the release of the film, many Soviet women literally became obsessed with the idea of having something like this in their wardrobe. Moreover, even today we can easily present it on the streets of fashionable capitals of the world.