Oscar de la Renta was born in the Dominican Republic in 1932. However, the country of Spain was his earliest style muse. At the age of 18, he moved to Madrid to attend the Real Academia de Bellas Artes de San Fernando. As a student, de la Renta immersed himself in the culture of Spain and, to make extra money, took up fashion sketching.
It was also in Madrid where he first became a fashion illustrator for the couture house of Cristobal Balenziaga in 1957.
Arriving in Manhattan in 1963, he worked for Elizabeth Arden and Jane Derby before going it alone, quickly became part of the fabric of the city’s fashion and social scenes.
De la Renta began his own signature ready-to-wear label in 1965. His designs were ladylike without being stiff, and he could whip up an airy summer dress with the same facility as he could a red carpet gown.
The label ” Oscar de la Renta” was an immediate hit thanks to De la Renta’s use of colour, his vibrant prints and romantic rendering of Spanish and Caribbean silhouettes. He said: “I fell madly for Spain, its people, its landscape and life in Madrid. The sights, sounds and drama of Spanish culture — bullfights, flamenco and the most festive celebrations such as the traditional ferias of Seville and fallas of Valencia — were burned forever in my imagination, defining my own aesthetic.”
Highly respected by his contemporaries, de la Renta served as president of the Council of Fashion Designers of America from 1973 to 1976, and from 1986 to 1988. In 1990 the CFDA gave him its Lifetime Achievement Award. He also won the CFDA Womanswear Designer of the Year Award in 2000.
Oscar de la Renta became the creative director of Balmain Haute Couture in 1992. Between 1993 and 2002 he designed the haute couture collections, becoming the first Dominican to design for a French couture house.
By the late ’90s and early 2000s, his work became the preferred wear of American first ladies. He dressed first lady Nancy Reagan in the 1980s, and then provided the gowns for inaugural events for both Hillary Clinton in 1997 and Laura Bush in 2005.
De la Renta had been diagnosed with cancer during the first decade of the 2000s. He died on October 20, 2014, at the age of 82. His brand continues to function, and his creations are displayed in the best museums in the world.
The Italian actress, singer, dancer and TV host died at 78 last month. Born in Bologna in 1943, Raffaella Maria Roberta Pelloni, known as Raffaella Carrà, studied dance and acting, starring first in a few peplum films and appearing in Mark Robson’s “Von Ryan’s Express” (1965).
Later she became more famous as a singer, dancer and co-host of programmes on Italy’s state TV Rai. Her songs, dance, music numbers and outfits made history for inspiring freedom, empowering women. At the end of the 1970s Raffaella became very popular in Spain and Latin America. Televisión Española hired her to conduct the live show “Hola Raffaella” between 1992 and 1993. In 2018, the king of Spain made her a dame, “al orden del mérito civil”, for being “an icon of freedom”. Her blonde bob and costumes became her signatures. Raffella Carrà’s myth developed with her wardrobe, created by costume designers who were loyal to her throughout her career – Corrado Colabucci, Luca Sabatelli and Gabriele Mayer.
Tony Viramontes (1956–1988) was an American artist, who found success in Europe and Japan as a fashion illustrator and photographer. From the late 1970s, his works appeared in numerous publications including Vogue.
Viramontes died in 1988 at the age of 31 of an AIDS related illness. Just before his death, fashion designer Hanae Mori, who had a long standing working relationship with Viramontes, commissioned a large format coffee-table book titled Viramontes that was published in Japan.
A more comprehensive study of his work, Bold, Beautiful and Damned: The World of Fashion Illustrator Tony Viramontes, was published in 2013.
Melnyk M. Fashion in costumes of Soviet perestroika cinema // Nefiltravanae Kino: Proceeding of the film studies conference (Minsk, March 13, 2020). – Minsk: 2020. – P. 28-31.
Abstract. Today, the fashion of the perestroika period is again in trend. Collections and museum exhibitions are dedicated to it. The time distance allows us to look at the culture of perestroika more objectively. In the wake of the search for truth, the costume in the perestroika movie reflected the fashion of the time without censorship and embellishment, so films of that time are an important source of scientific research. This article offers an analysis of the costumes of the most popular and stylistically interesting films, including “Courier”, “ASSA”, “Eagle”, “Crash – Cop’s Daughter”, “Criminal talent” and “Interdevochka”. As a result of the analysis, the directions in the perestroika fashion are highlighted.
The fashion of the Soviet perestroika is again relevant: collections of this style are shown on catwalks, costume exhibitions are held in museums. Perestroika, which officially began in 1985, refuted the official collections of Soviet state model houses, and the cinema of that time reflected not only how people dressed, but also how they perceived clothes, how they created their own fashionable images.
Among the scientific research of the declared topic are works by Jukka Gronow and Sergey Zhuravlev (Fashion Meets Socialism: Fashion Industry in the Soviet Union after the Second World War) , Karina Karaeva, dedicated to visual features of sots art in interaction with the visual language of Soviet cinema  and Ludmila Yatina, who studied the reflection of the lifestyle of young people іmage in Russian cinema . In 2019 the book “Ruptures and Continuities in Soviet/Russian Cinema: Styles, characters and genres before and after the collapse of the USSR” was published .
Perestroika abolished the main function of Soviet cinema: to serve the current ideological order of the state. This led to the loss of landmarks and even the loss of the “hero” but allowed filmmakers to show life without any embellishment. That is why perestroika cinema is stylistically very interesting and shows a truthful fixation of that time fashion.
Cinema, which was created in the harsh conditions of the social consequences of the Soviet Union, did not aim to educate the younger generation but reproduced the surrounding reality of temptations, problems, and difficulties, a crisis of values, lack of orientations and priorities.
At a time when old norms were being destroyed, young people sought to form their own contradictory views. The voice of the younger generation sounded louder, and films about youth problems became harbingers of future changes, emphasizing not just the revolt of generations, but the deep gap between parents and children.
Karen Shakhnazarov’s film “Courier” (1986) became a kind of Manifesto for the youth of that time. The film showed close and understandable characters. From the point of the costume view, this is a kind of mirror of the late USSR. The film begins with a scene of divorce, immediately after which the new wife of the main character’s father appears in a fashionable white suit with wide shoulders and a bright print, dressed over a red shirt – this is the new phase of the characters ‘ life. The main female character of the film is remembered in the fashionable and scarce “Adidas” tracksuit, which was a real marker of “coolness” in the years when not only branded, but just any things of foreign production were an indicator of the special status. Her image as a Professor’s daughter embodies the privilege of the top of old Soviet society. “The lower classes” lived differently: “I have a dream to buy a coat” – says one of the characters at the end of the film, summing up the sad reality of perestroika and voicing the dreams of many teenagers of that time.
In Sergey Solovyov’s film “ASSA” (1987), ethics and aesthetics are even tougher. This film, about the relationship between the girlfriend of a crime boss and a musician she meets by chance, became a symbol of Gorbachev’s perestroika. The characters are dressed in baggy trench coats, voluminous pantsuits, shapeless jackets, and shirts layered one on top of the other. Today, these are already familiar images, but in 1987 this style of a young girl’s clothing was interpreted as a revolt against fashion: against bright colors, mini-skirts, plastic jewelry, high-combed hair, and permanent curls. This is a revolt not only against the old Soviet Union but also against the depraved social system as a whole. The film created an anti-fashion, embodied in things without gender, age, seasons and trends, beyond the bounds of decency and good taste. A kind of anthem of this riot, as well as the entire era of perestroika, was the song of the band “Kino”, which sounds at the end of the film – “Changes are required by our hearts”.
The frontman of “Kino” Viktor Tsoi was an idol of young people; his image was imitated, so when, after “ASSA”, Rashid Nugmanov’s “Needle” (1988) appeared on the screens, this picture became a cult one. This is one of the first Soviet films that truly spoke about the young generation of the USSR in its language. Tsoi did not design his character’s style specifically, but only dressed as he did off-screen. The singer’s trademark was total black: a loose leather jacket or bomber jacket, a t-shirt and trousers rolled up from the bottom – all this is a kind of anti-fashion that periodically becomes mainstream.
Anti-fashion, but more provocative images are also shown in the film “Crash – Cop’s Daughter” (1989) by Mikhail Tumanishvili. Already at the beginning of the film, the father calls his fashionably dressed daughter a garden Scarecrow, demanding to remove her metal accessories. The daughter, like the rest of her company, has no authority and openly despises her elders, who before perestroika lied and hushed up the lawlessness in the USSR. Her enterprising grandfather getting “deficit” through the Union of war veterans. Crash teases him, challenging: “And can you get me some sneakers?”. The image of the Crash included a leather jacket and ripped jeans combined with high-combed hair and makeup in the style of “vamp” were very popular.
Not much rebellious, but revealing were the films about prostitutes – absolutely new to the Soviet screen heroines: “Criminal talent” (1988) and “Interdevochka” (1989).
“Criminal talent” by Sergei Ashkenazi depicts a cheater who, after coming to study in a big city, instead of training at a cloth factory, is engaged in prostitution and theft. A beautiful and fashionably dressed blonde cynically criticizes the injustice of the existing system, in which to buy boots, you need to starve, and “Chanel sprayed, Dior dressed” sounds as absurd as to introduce yourself as Claudia Cardinale.
Even more revealing of the rotten Soviet system is a parallel fashion story: the sixteen-year-old daughter of an investigator demands money from her father for expensive jeans from “Berezka”, which can only be bought with “connections” and paying double price, and for which an honest person does not have enough salary.
Pyotr Todorovskiy’s “Interdevochka” (Intergirl) is one of the most popular films of the perestroika period and the leader of the Soviet film distribution in 1989. The film has received numerous awards and prizes. The main character of the film together with her “colleagues” demonstrates the latest trends of Western glamour: “broad-shouldered” jackets, decorated by rhinestones, oversized jackets, silk blouses, mini-skirts, leggings, “boiled” jeans, massive gilded jewelry, lace gloves, fishnet tights. Clothing in this cinema not only performs a decorative role but also clearly indicates the social status of the characters. This is emphasized by the parting gift for the mother of the main character: Arctic Fox fur coat, which costs “a lot of money”. Mother, touched and frightened by this luxury, can’t believe it and say: “You are crazy, you are just crazy”.
A different view of fashion is demonstrated by Vasili Pichul’s film “Little Vera” (1988). The style of that time is shown through the prism of “social bottom”: the main character spends most of the screen time in a simple t-shirt and a black mini-skirt but highlighted combed hair, large plastic earrings and bracelets made the image iconic. The “Little Vera” was perceived abroad as a symbol of perestroika and glasnost.
The analysis of the costumes in most popular and style-revealing films of the perestroika period shows that at the peak of the outdated Soviet art modeling, which was accompanied by a “gray” commercial assortment, a total deficit and speculation, there were different directions of fashion alternatives: rebellious fashion of subcultures, little groups or individuals, compromise “poor” adaptation of fashion, corresponding to the economic crisis, and glamorous “Western fashion”, desired by the majority, but available to the elite only. All three directions were positively perceived by young people and sharply condemned by those who lived in the system of outdated Soviet values. Since perestroika fashion entered global trends in the early 2020s, Soviet films of that time can serve as a source not only of fashion history studying but also as a source of inspiration for modern and future fashion designers.
Караева К. З. Изобразительные особенности соц-арта во взаимодействии с визуальным языком отечественного кинематографа 1970-2000-х годов: диссертация кандидата искусствоведения: 17.00.03 / Караева Карина Зауровна; [Место защиты: Всерос. гос. ин-т кинематографии им. С.А. Герасимова]. – Москва, 2017. – 160 с.
Ятина Л. И., Калинина Т. С. Изображение стиля жизни молодёжи в российском кинематографе: трансформация практик в обществе потребления // Журнал социологии и социальной антропологи, 2011, Т.XIV, № 5. – С. 168–181.
Gronow J., Zhuravlev S. Fashion Meets Socialism: Fashion Industry in the Soviet Union after the Second World War / Jukka Gronow and Sergey Zhuravlev. – Helsinki: Finnish Literature Society, 2015. – 303 pp.
Ruptures and Continuities in Soviet/Russian Cinema: Styles, characters and genres before and after the collapse of the USSR (Routledge Contemporary Russia and Eastern Europe Series) 1st Edition / by Birgit Beumers (Editor), Eugenie Zvonkine (Editor). – London: Routledge, 2019 – 226 pp.
American-English actress and model Kelly LeBrock was one of the most beautiful women of the 1980s. Her acting debut was in The Woman in Red (1984), co-starring Gene Wilder. She also starred in the films Weird Science (1985), directed by John Hughes, and Hard to Kill (1990), with Steven Seagal.
LeBrock began her career as a model at age 16. Her breakthrough came at 19, when she starred in a 24-page spread in Vogue magazine. Shortly afterwards, she contracted with Christian Dior to work for that fashion label for 30 days a year.
At 1980s Kelly Le Brock also had Gianni Versace‘s campaigns.
As a fashion model Kelly LeBrock became especially recognizable for the Pantene shampoo commercial spokeswomanwhose line, “Don’t hate me because I’m beautiful” became a pop culture catchphrase.
Kelly LeBrock subsequently appeared on numerous magazine covers and in fashion spreads, and became one of Eileen Ford’s most sought-after models.
Ágatha Ruiz de la Prada is a Spanish fashion designer. She also is the marchioness of Castelldosríus, Grandee of Spain and the baroness of Santa Pau.
Ágatha entered fashion in 1981 with her women´s collection. She opened her first studio in Madrid and began to participate in fashion shows. Agatha was a promoter of the artistic and Cultural Revolution in the 1980s.
She started to gain international recognition by means of her fashion shows in Spain, France, Italy, Colombia, USA, Puerto Rico, Santo Domingo and exhibitions in Tokyo, New York, Paris, Moscow and Bucharest.
In 1991, Agatha licensed her brand, expanding her line to include men´s, women´s and children´s fashion, ceramics, toys, shoes, linens and towels, make-up and more. Her stores are located in Madrid, Barcelona, Paris, Milan, New York, Oporto and Mallorca and she is present in over 140 countries around the world.
Patrick Kelly Kelly studied art at Jackson State University and then attended Parsons School of Design. While living in Atlanta at age 18 Kelly sold reworked, recycled clothes and served as an unpaid window-dresser at Yves Saint Laurent. YSL chairman Pierre Bergé personally sponsored Kelly in 1988 to form the Paris-based womenswear fashion house Patrick Kelly Paris.
In 1988 he became the American admitted to the Paris’s The Chambre Syndicale de la Haute Couture.His first Louvre show, a spoof on the Mona Lisa, included such numbers as “Jungle Lisa loves Tarzan” (decollete leopard-print gowns) and “Moona Lisa” (Plexiglas-bubble headgear and silver- star-studded dresses).
Patrick Kelly made clothes that made people smile, he blurs the line between fashion and show biz. He make a fast rise to the tophigh-profile clients such as screen legend Bette Davis, supermodel of the era Isabella Rossellini and Paloma Picasso.
Patrick Kelly succumbed to AIDS at the age of 35, he died on New Year’s Day, 1990.
Once, when the correspondent ask him: “Are you growing up?”