In the latest issue of Port , Jacob Charles Wilson profiles pioneering constructivist designer Varvara Stepanova and how she aimed to bring functional forms to the people.
The Soviet fashion designer Varvara Stepanova, born to a peasant family in 1894, was one of the greatest creative forces of the revolutionary years. By her 20s, she was already a central part of the Russian avant-garde, alongside the poet Vladimir Mayakovsky, the abstract painter Olga Rozanova and the cutting-edge photographer – also her life partner – Alexander Rodchenko. Her work remains influential today, if under-recognised.
Stepanova was never content for her work to sit in galleries – real artwork was made in the streets, factories and laboratories – and in 1921 she cofounded the Constructivist Group, which set out to direct its artistic efforts towards designing functional yet beautiful products for everyday proletarian life. Stepanova produced photomontages, book covers, posters and theatrical sets, before concluding that her vision would be best realised designing fashion for work and leisure.
The workers of the new world would live and play in the very best materials and designs: casual jumpsuits and overalls that drew on both traditional peasant clothing and the latest modernist artistic trends of futurism and cubism. Stepanova’s designs use dynamic shapes that emphasise the human body in action, with sharp angular forms, printed abstract patterns and contrasting colours: bold reds and blacks. Her clothes would enhance the flexibility and comfort of moving through the streets and the city, in the factory and on to the playing field, while unisex clothing patterns would no longer confine men and women to stifling gender norms.
Before heading the textile design course at the Vkhutemas art school, Stepanova had spent a year working at Tsindel, the state textile factory, producing over 150 designs. Unfortunately, due to wartime shortages and the complexity of her visions, many of these would never be realised, but her work lives on. It is from her pioneering designs and radical reimagining of clothes and the body that our own contemporary approach to sportswear and streetwear has been created: the technologically innovative fabrics and bold use of colour and pattern that dominate Western fashion shows today – having been forged among the passions, ideals and dynamism of the early Soviet years.
This is an excerpt from issue 21 of Port, out now. To buy or subscribe click here.
- “Fear and desire for connection and the blocks to it”: artist Martine Syms on her exhibition Grand Calme
- Iggy Ldn captures beauty, power and pain in his short film, Velvet
- Art Bank Taiwan joins London Design Biennale this week, exploring cultural identity through political and social commentary
- Tiziana Jill Beck explores the identity of anonymous travellers through masks
- The new issue of Indoek brings America's oldest city to life
- Master of plasticine Kate Isobel Scott is back with a new animation
- Uber gets another new logo, gives you something to make small talk about this weekend
- “Go, go, go”: how DIA messed with design theory, only to improve it
- Type designer Kia Tasbihgou on how “knowing cool designers and nice fonts isn’t enough”
- Watch the trailer for the Don't Hug Me I'm Scared, the television show
- V&A curator Marie Foulston wants us to look at video games through the lens of design
- You know that great feeling of popping a spot? You'll get that from Sophie Koko Gate's new animation