6 Chapter 3. Soviet fashion (English demonstration)
Introduction: Soviet fashion
Olga Vainshtein compares Soviet fashion of the 1960-1980s to a Cheshire cat: it is elusive, resistant to philosophical arguments and leaves someone with a vague smile. Soviet fashion was based on the concepts of moderation, simplicity and ‘modesty’. Soviet department stores had inexpensive and good-quality dresses, robes, blouses and aprons, but the range was quite limited, so that many people would wear identical garments. Many women had a simple black skirt that could be combined with any sweater or blouse. To compensate for the uniform clothes, many women sewed or knitted their own clothes using patterns from fashion magazines. They would pay special attention to their hair style and makeup.
A Soviet woman typically had to combine work with her role as a housewife, doing grocery shopping and dealing with family needs. A staple of her home wardrobe would thus be a house robe (khalat) and a durable coat for standing in the lines. Being dressed up at work was snubbed at. People would comment publicly on each other’s appearance and clothes, either to give praise or criticize – a tradition that was rooted in the communal way of life.
Adapted from: Vainshtein, O. (1996), Female Fashion, Soviet Style: Bodies of Ideology, in Goscilo, H., Holmgren, B., (eds). Russia— Women — Culture. Indiana: Indiana UP., pp. 64-94.
1. Film ¨Office Romance¨
1.1. Homework. Watch the film and take notes on the following questions:
Which historical era, year, and season are depicted in the film?
In which cities do the events take place?
In which specific locations do the events occur?
Details: which did you remember? what surprised you?
What are the names of the film’s characters (main and secondary)? Who are they?
Themes: what is the film about?
1.2 Classwork. Compare your notes with the answers of other students. Discuss them together in Russian.
1.3. Read and listen to the text about the film.
“Office Romance” is a 1977 Soviet comedy directed by Eldar Ryazanov. The film tells the love story of two colleagues who work in a statistical company. The main characters are the modest statistician Anatoly Novoseltsev and his boss, Lyudmila Kalugina.
Novoseltsev is a middle-aged man who does not look very attractive. He wears glasses, has disheveled hair, and does not take much care of his appearance. His clothes are often wrinkled, and he wears simple, dull suits.
At first glance, Lyudmila Kalugina seems a strict and unattractive woman. Her clothing is conservative, shapeless, and monotonous. She mostly wears dark skirts and blouses or closed dresses. The strict director Kalugina does not wear makeup.
However, when a romance begins between Novoseltsev and Kalugina, she is transformed. She removes her glasses and makes a softer, more feminine hairdo. She starts wearing beautiful and elegant clothing. The strict boss Kalugina becomes a sweet and attractive woman.
1.4 Write five questions about the text and bring them to class. Ask these questions to each other and answer them.
2. The characters of the film.
2.1
Watch the fragment (2:00–2:50) from the film “Office Romance”, in which the main character, Anatoly Novoseltsev, talks to the audience about Lyudmila Kalugina.
Answer the questions.
2.2 Learn the vocabulary on the topic “clothing.”
2.3 Read the text about Verochka’s clothing and pay attention to the underlined phrases.
The secretary Verochka in the film “Office Romance” is a bright and stylish woman who immediately attracts attention with her appearance and way of dressing. She has a short, fashionable haircut. Verochka takes care of her appearance: her makeup is always flawless, and she uses bright lipsticks and eyeshadows that emphasize her expressive facial features.
Verochka’s clothing is always fashionable and stylish. Secretary Kalugina prefers bright colors and elegant styles that highlight her figure. She wears graceful dresses, blouses with bows, and skirts that fit perfectly. Verochka often uses accessories: eye-catching brooches, earrings, and rings that make her even more attractive. She wears high-heeled shoes and elegant handbags.
Verochka is a contrast to the strict and reserved Kalugina, showing that at work, one can look not only professional but also fashionable. Secretary Kalugina is very charming and stylish.
2.4 Watch the conversation between Verochka and Kalugina about boots (23:31-24:02).
Watch the conversation between Verochka and Kalugina about the boots (23:31–24:02).
2.5 Read the text of the episode and role-play it.
2.6. Describe Kalugina’s style of clothing at the beginning of the film. Use words from exercise 3.2 and phrases from exercise 3.3.
2.7 Now compare the clothing styles of Yuri Samokhvalov and Anatoly Novoseltsev.
3. The conversation between Verochka and Kalugina.
3.1 Watch the episode (1:12:30…1:19:53).
Kalugina: What are they wearing now?
Verochka: In what sense?
Kalugina: In the sense of clothing.
Verochka: And why do you need to know this? Oh, excuse me, Lyudmila Prokofyevna…
Kalugina: It’s nothing. A relative of mine came from a small town… she’s interested.
Verochka: Well, it’s clear now. So, let’s start with footwear. It’s footwear that makes a woman a woman.
Kalugina: Really?
Verochka: Shoos are now worn with a strap on a high heel.
Kalugina: What are “shoos”? Sorry, Verochka, I didn’t understand…
Verochka: Well, it’s from the English word “shoes.” As for boots, they need to be on a high heel, with pleats…
Kalugina: Wait, Verochka. I need to write all this down. Not so fast. What do you mean by “pleats”? Heel?
Verochka: The shaft! Does your relative have beautiful legs? Slim legs?
Kalugina: Well, legs… just legs… average legs, let’s say.
Verochka: Well, it’s clear. If the legs are not ideal, Lyudmila Prokofyevna, they need to be hidden.
Kalugina: Where?
Verochka: Under a maxi…
[…]
Verochka: You know, Lyudmila Prokofyevna, there’s also something important called combinability. Well, combination, let’s say, a sweater on top… by the way, they’ve just launched booties and a blazer in GUM…
Kalugina: What’s a blazer?
Verochka: A blazer is a club jacket.
Kalugina: To wear it in a community centre, or what?
Verochka: There too. A blazer, let’s say, with booties… But actually, that’s not the main thing… You know, for example, now wigs are not worn, right?
Kalugina: Well, thank God, I think. It’s much better when it’s natural, right? Otherwise, it’s like having a house on your head…
Verochka: Well, if it’s natural, then it’s better. Yes… so, what do we have left if wigs are not worn? The face! Eyebrows have now acquired colossal importance. You know, forgive me, Lyudmila Prokofyevna, since we’re having this conversation. For example, your eyebrows…
Kalugina: What about my eyebrows?
Verochka: It’s just inappropriate. If your eyebrows grow so thick, you need to do something about it.
Kalugina: How can you do something about it?
Verochka: Well, you need to pluck them, thin them out…
Kalugina: With what?
Verochka: At least with tweezers.
Kalugina: Tweezers? But, my dear, that’s painful.
Verochka: Well, you’re a woman, you can endure. The eyebrow should be thin, like a thread, slightly raised in surprise…
Kalugina: Like yours?
Verochka: Well, I’m not the ideal.
Kalugina: Darling, that can only be done under anesthesia.
Verochka: That’s not the main thing! What distinguishes a businesswoman from a woman?
Kalugina: What?
Verochka: The walk! How do you walk?
Kalugina: How?
Verochka: It’s incomprehensible. You bend your back, tighten up here, like a worn-out old boot, and shuffle off to work, as if you’re hammering stakes into the ground. But how do we walk?
Kalugina: Oh, do I really walk like that?
Verochka: A woman must have a mystery. Her head is slightly raised, her eyes are a little lowered. Everything here is relaxed. Shoulders thrown back. The walk is free, from the hip. The graceful, free movement of a panther before a leap. Men won’t let such a woman pass by.
Kalugina: Can you learn to walk like that? Or is it unattainable?
Verochka: Well, you know, you can teach a rabbit to smoke. Basically, nothing is impossible…
Kalugina: Do you think so?
Verochka: …for a person with intellect. Well, now, stand up. Straighten yourself.
Kalugina: I’m afraid I won’t be able to master this skill.
Verochka: Nonsense, you’ll manage! Don’t worry! Head forward. Chest forward…
Kalugina: Chest? You’re flattering me, Verochka.
Verochka: Everyone flatters you. Tuck in the back. Bring your stomach in.
Kalugina: Like this, or like this.
Verochka: Do what I tell you, everything in. And now, walk toward me with a free stride, your leg from the hip should move freely. Go! Lyudmila Prokofyevna, where did you get this vulgarity from? You’re swaying your hips like… an indecent woman.
[…]
Verochka: You’re a woman, not a soldier.
Kalugina: I’ve already forgotten about that.
Verochka: More piquant, more piquant. And a playful smile. In general, let the men think that everything is fine with you. Breathe, breathe, more elegantly, with plasticity, and don’t kick around. You’re not a horse, you’re a woman. Now, go alone, go. More cheerful! Where to?
4. The House and Character of Kalugina
An important item in the wardrobe of a Soviet woman was the bathrobe. It was a practical, comfortable garment for home. In bathrobes, one could do household chores, cook, and also relax. There were also luxurious, expensive bathrobes made of Chinese silk, which were not available to everyone. Often, directors dressed the negative female characters of films in such bathrobes, emphasizing their difference from the modest Soviet clothing and their “bourgeois” nature. Let’s take a look at Lyudmila Kalugina’s home and see what she is like at home.
4.1 Watch the episode (1:53:28…1:55:05) and answer the questions.
- Does Lyudmila look the same at home as she does at work? Why?
- What details of Lyudmila’s home interior reveal her character?
- Describe Lyudmila’s bathrobe. What does it say about her character?
5. Lyudmila Kalugina’s Transformation
5.1 Watch the episode (2:14:13 – 2:16:33).
5.2 Describe Lyudmila Kalugina before and after her transformation. What has changed?
Use the phrases:
At first, she was (adjective in instrumental case)…, then she became (adjective in instrumental case)…
At the beginning of the film, Kalugina wears…, after the metamorphosis, she starts wearing…
In the first photograph, we see Kalugina (adjective in instrumental case)…, and in the second photograph…
