Exhibition of photographs "My Lucy" in memory of Lyudmila Gurchenko. Exhibition of photographs "My Lucy" in memory of Lyudmila Gurchenko That's so sharp
Lyudmila Gurchenko in photographs - the exhibition "My Lusya" has opened in Moscow. A PHOTO
The exhibition "My Lucy" dedicated to the 80th anniversary of the famous actress Lyudmila Gurchenko has opened in Moscow.
On the occasion of the 80th anniversary of the legendary Soviet actress Lyudmila Gurchenko, which is celebrated on November 12, the exhibition "My Lucy" has opened in the Moscow Gallery of Classical Photography.
Photographer Aslan Akhmadov presented Lyudmila Gurchenko in his pictures as a real film star.
He did several photo shoots of the great actress, helped her in her work on the films "Colorful Twilight", "Markovna - Reloaded", "I am a Legend".
In 2009, Lyudmila Gurchenko and Aslan Akhmadov began working together on a book of photographs for her 75th birthday. Communication has grown into friendship. So close and trusting that, says the photographer, the actress did not even check his pictures.
The exhibition features 150 previously unpublished photos of Lyudmila Markovna. , many of which are prohibited from being shown to minors. Much attention is paid to details: eyes, arms, back and silhouette.
Aslan Akhmadov admitted that on the eve of the opening of the exhibition he was nervous, did not sleep and sorted through the photographs, thinking about what was not included in the exposition ... According to him, the exhibition is only a part of what he could have imagined.
Together with Aslan Akhmadov, the exhibition was opened by Lyudmila Gurchenko's husband Sergey Senin.
The exhibition dedicated to the 80th anniversary of Lyudmila Gurchenko was visited by many movie and pop stars. Larisa Udovichenko, Natalya Belokhvostikova, Svetlana Svetlichnaya, Stas Sadalsky, Philip Kirkorov, Kristina Orbakaite...
They did not hide their admiration for Lyudmila Markovna, shared their memories of her.
Natalya Belokhvostikova at the exhibition "My Lucy"
"Lucy's success is in her magic, a mystery that is completely impossible to guess and comprehend. But Aslan caught the essence of her nature and character, so it's impossible to tear yourself away from his work. In the world of such actresses as Gurchenko, there are no number"- said Natalya Belokhvostikova.
Svetlana Svetlichnaya at the exhibition "My Lucy"
"Gurchenko never longed to be anyone other than who you really are. Life taught her to leave insincere people. And we see all her life experience in these works", - Svetlana Svetlichnaya emphasized.
Kristina Orbakaite at the exhibition "My Lucy"
"Lyudmila Markovna was a terrible Samoyed. She always wanted to achieve perfection in everything. Sing - so to the point of hoarseness, dance - to the point of exhaustion. The corps de ballet is already falling down from fatigue, and Gurchenko still wants to rehearse. She is not enough "- said Christina Orbakaite.
Philip Kirkorov at the exhibition "My Lucy"
“God, she had a 44-centimeter waist! I visited her in Trekhprudny Lane, and she gave me tea in her boudoir living room. And she loved bread and butter - if she doesn’t eat it in the morning, the day won’t start in a good mood. I am infinitely grateful to Lyudmila Markovna for supporting me in moments of despair.- recalled Philip Kirkorov.
For the 80th anniversary of the actress, the latest photo shoots of Lyudmila Gurchenko, made by Aslan Akhmadov, will be presented for the first time.
The project "My Lusya" is a free look of the photographer Aslan Akhmadov on the work of the great actress - a synthesis of jointly created images, short stories, documentaries. This is a tribute to the memory of the national heroine.
In 2009, Aslan and Lyudmila began working together on a book-album of photographs for the 75th anniversary of the actress. From this joint work began their friendship. Subsequently, Aslan's work continued in joint projects with the participation of Gurchenko. The photographer helped the actress in creating her vivid images for such films as "Colorful Twilight", "Markovna - Reloaded", "I Am a Legend". In a short time, a large amount of material was accumulated: hundreds of photographs and videos were taken. Most of them have never been seen. These works contain the message of the people's artist to her fans and subsequent generations of viewers.
“When you are very close and often communicate with a person of such an immense scale of personality as Lyudmila Markovna Gurchenko, then at first you experience awe in front of him, simply from the degree of his greatness. You feel like you're talking to a living monument. Moreover, he himself may not do anything for this - his work has already done everything for him, which influenced you so much. However, after some, very short time, you begin to see an ordinary person, with all the features of his character. Recognizing Lucy, her human qualities, in addition to her indisputable outstanding acting and musical talent, I saw a genuinely honest, often to my own detriment, very vulnerable, sincere and kind person. Lucy - that's what her closest people called her, she knew how to be a friend. Loyal, real. We were united by love for cinema, jazz and photography. This project is our joint idea. Our friendship is a priceless gift that I will carefully keep in my memory all my life! I sincerely hope that the photographs presented at the exhibition will at least slightly reflect what “My Lucy” really was, Aslan Akhmadov comments.
The work of Lyudmila Markovna Gurchenko made an invaluable contribution to the history of national culture. Several generations of viewers have grown up on her films. Many people perceive her as an idol and an absolute style icon. For all admirers of the talent of Lyudmila Gurchenko, this exhibition will be a precious gift that prolongs the creative life of the great actress.
*Some of the submitted works contain images that are prohibited for viewing by minors.
The gallery is open from 12.00 to 21.00, except Mon. and Tue.
Venue: Gallery of Classical Photography, Savvinskaya Embankment, 23/1 Tel: +7 495 510 7713
For the 80th anniversary of the actress, the latest photo shoots of Lyudmila Gurchenko, made by Aslan Akhmadov, will be presented for the first time.
The project "My Lucy" is a free look of the photographer Aslan Akhmadov on the work of the great actress - a synthesis of jointly created images, short stories, documentaries. This is a tribute to the memory of the national heroine.
Tickets for the exhibition can be purchased at the Gallery box office and electronically on Timepad:
In 2009, Aslan and Lyudmila began working together on a book-album of photographs for the 75th anniversary of the actress. From that moment their friendship began. Subsequently, Aslan's work continued in joint projects with the participation of Gurchenko. The photo artist helped the actress in creating her vivid images for such films as Motley Twilight, Markovna Reloaded, I Am Legend. In a short time, a large amount of material was accumulated: hundreds of photographs and videos were taken. Most of them have never been seen. These works contain the message of the people's artist to her fans and subsequent generations of viewers.
REVIEWS ABOUT THE EXHIBITION AND COMMENTS ON THE PHOTOS CAN BE LEAVE ON THE "BILLBOARD"
“When you are very close and often communicate with a person of such an immense scale of personality as Lyudmila Markovna Gurchenko, then at first you experience awe in front of him, simply from the degree of his greatness. You feel like you're talking to a living monument. Moreover, he himself may not do anything for this - his work has already done everything for him, which influenced you so much. However, after some, very short time, you begin to see an ordinary person, with all the features of his character. Recognizing Lucy, her human qualities, in addition to her undeniable outstanding acting and musical talent, I saw a genuinely honest, often to my own detriment, very vulnerable, sincere and kind person. Lucy - that's what her closest people called her, she knew how to be a friend. Loyal, real. We were united by love for cinema, jazz and photography. This project is our joint idea. Our friendship is a priceless gift that I will carefully keep in my memory all my life! I sincerely hope that the photographs presented at the exhibition will at least slightly reflect what “My Lucy” really was, - Aslan Akhmadov comments.
The work of Lyudmila Markovna Gurchenko made an invaluable contribution to the history of national culture. Several generations of viewers have grown up on her films. Many people perceive her as an idol and an absolute style icon. For all admirers of the talent of Lyudmila Gurchenko, this exhibition will be a precious gift that prolongs the creative life of the great actress.
In this project, more than one hundred and fifty large format photographs will present Lyudmila Gurchenko in dozens of new images and interpretations. Most of the photos have not been published anywhere before. The exhibition area will be about a thousand square meters.
Media Accreditation: [email protected] , 8-495-510-77-13
Project partners:
The general partner of the project is the Russian portal for the business and financial elite - www.finparty.ru.
The general television partner is Channel 8, a Russian information and entertainment channel.
General radio partners - Radio "Chocolate" and "Business FM".
Media partners: newspapers "World of News", "Komsomolskaya Pravda", the city newspaper "My District", the magazine "Vash Leisure", the popular online entertainment and information magazine Teleprogramma.pro, the weekly "TELEK PRESS.RU", the magazine Eclectic, magazine about photography and photo equipment Foto&Video. The technical partner of the project is the FotoLab laboratory - www.fotolab.ru.
*Some of the submitted works contain images that are prohibited for viewing by minors.
Exhibition "My Lucy", dedicated to Ludmila Gurchenko, opens on November 11 in Moscow at the Gallery of Classical Photography. The day before, a presentation of the exhibition was held, which was visited by the correspondent.
Photo by Alexandra Cherdantseva
On November 12, the great actress would have turned 80 years old. This event is dedicated to the exhibition. Photos are presented by her friend - director and photographer Aslan Akhmadov.
In total, the exhibition will feature about 200 previously unpublished works. But some of the pictures will be available only to adults - there is nudity.
According to the artist, the filming of the project began in 2007. “I wanted to shoot several well-known actors and actresses in the images of the heroes of ancient myths,” said Aslan Akhmadov.
Photo by Alexandra Cherdantseva
According to Aslan, Lyudmila Gurchenko had incredible love and affection for her father. And if they were separated in childhood, and then met, not knowing who they were to each other, then there would be strong love between them, a romance. That is why the idea was born to use the images of Oedipus and Jocasta.
Gurchenko was delighted with this idea. Hundreds of dresses, thousands of pairs of shoes, and multi-million dollar jewelry were brought to the Oedipus project.
There were also very candid photos in which the actress' partner on the set was completely naked. Both were shy, but it turned out great, says the photographer.
Photo by Alexandra Cherdantseva
“We became very close, became friends. We spent a lot of time together. We saw each other almost every day,” says Aslan Akhmadov. “Lucy taught me a very important thing: speak only at the moment when you really have something to say. I have something to say with this exhibition.”
Akhmadov is sure that Gurchenko would have approved the creation of this exhibition after her death - she worked selflessly on the project.
The photographer explained that the exhibition could not be made earlier due to the fact that they could not find funding for the project. “We live in such a country ... A great actress passed away, who worked until the last day, until the age of 75, not because she really wanted to. But because she had to earn money for a living. And even when she left , the state did not even allocate money for the funeral," Akhmadov said.
Photo by Alexandra Cherdantseva
This exhibition is organized at the personal expense of the photographer and his partner. “We have been looking for money for five years. Whoever we turned to, nobody needed it – neither the state nor private companies,” says the artist.
When asked by a correspondent whether Lyudmila Gurchenko agreed to all Akhmadov’s proposals for joint projects, the artist replied: “Lucy trusted me endlessly. The trust was instantaneous, from the very first shooting."
Aslan Akhmadov hopes to publish a book with photographs of Lyudmila Gurchenko. The project is ready, but there is no money.
Photo by Alexandra Cherdantseva
Aslan said:
"We often rode with her on my" Hummer ". She called him a cow."
"I taught her how to use an iPhone, Kirkorov gave it to her. It was difficult for her, she could not get used to the touch screen."
"When we met, she was for me a living monument of a great actress. And she behaved very naturally, joked, sometimes weaved an obscene word into her speech."
"Lucy instantly assessed people. It was impossible to deceive her."
"I saw how she works. This is a person who recorded a song in one take in such a way that it knocks you off ... This is not even skill and professionalism, this is God's giftedness."
It really was another Gurchenko! Gurchenko-needlewoman, Gurchenko-designer, Gurchenko-stylist. This exhibition was held as a master class of the star: "how to create your own unique and inimitable style."
And to create with your own hands and practically from nothing. Create at a time when there are no fabrics, no high-profile fashion designers, no financial opportunities to buy products from expensive foreign fashion designers.
And this unique master class turned out to be very visual, with real photographs and things, and, most importantly, with the atmosphere that accompanied the creative life of our domestic film star, and with the atmosphere that she herself created with the help of her hands, imagination and desires. All this I invite you to see with your own eyes.
VENUE OF THE EXHIBITION: 1st FLOOR OF THE HOUSE-MUSEUM OF F.I. SHALYAPIN - ROOM "LOFT"
It was rather strange to see an exhibition dedicated to Lyudmila Gurchenko right here - in a dark room, devoid of any decoration and consisting of brick and concrete.
But the more I was in it, the more I was imbued with the thoughts of the authors: factory red brick set the tone for this exhibition as well as possible: it was within the framework of the Soviet factory approach to fashion that Lyudmila Gurchenko had to create and defend her unusually feminine and airy enchanting image in the spirit of Christian Diora. The lace of female beauty against the Soviet nomenklatura machine - it was a very strong metaphor! And the loft embodied it wonderfully.
The exhibition "Another Gurchenko" opened in the house-museum of Fyodor Chaliapin (a branch of the Museum of Theater and Musical Art) on November 17, 2016 - just close to the date of the actress's birthday - November 12. In 2015, Lyudmila Markovna would have turned 80 years old, but she left on March 30, 2011, celebrating her 75th birthday.
I got to the exhibition on the last day of its holding - January 20, 2017. The ticket price was ridiculously low - only 100 rubles.
The main organizer of the exhibition was the Museum of Theater and Musical Art - our St. Petersburg "Klondike" of all kinds of rarities from the day the theater was founded in Russia to the present day.
Another organizer is, of course, the Museum-Workshop of Lyudmila Gurchenko, opened by the actress's husband Sergei Senin in her apartment on Patriarch's Ponds. It is there, in Moscow, that a huge collection of costume dresses and numerous accessories that belonged to the popularly beloved actress is stored.
To us, in St. Petersburg, only a small part of this collection came - those dresses and accessories that Lyudmila Markovna herself had a hand in creating and which most fully reveal the path she went in improving her handicraft skills.
There were not very many exhibits, and they occupied only one hall-loft of the Fyodor Ivanovich Chaliapin Museum:
Several mannequins with outfits, reproductions, twilight and a huge screen on which video recordings of Lyudmila Gurchenko's interviews and fragments of her roles in films were broadcast.
And it also turned out to be a very successful find of the organizers! Because the presence of the "hostess of the salon" herself very tactfully and appropriately tuned in to the right wave.
And her natural artistry charged with such cheerfulness that there was a relentless desire to study in detail each exhibit exhibited.
Well, that's what we're going to do now. And first, let's get acquainted with the annotation to the exhibition:
I will use excerpts from this annotation to comment on some of the photos. And I'll start with those that set the most powerful psychological background not only for this exhibition, but for the whole concept of "fashionable life" in the Soviet Union and Russia.
"FASHION LANDING" OF THE HOUSE OF CHRISTIAN DIOR (UNDER THE LEADERSHIP OF Yves Saint Laurent) ON THE STREETS OF MOSCOW IN 1959
From the annotation to the exhibition "Another Gurchenko":
"Post-war life gradually improved, but it was poor and ascetic. Fashion in the USSR lagged hopelessly behind Western. The photos from LIFE magazine are presented at this exhibition not by chance. They were taken in 1959, when the Christian Dior Fashion House came to Moscow to show their models "Landing" of elegant French fashion models poured into the streets of the capital, they were accompanied by crowds of Muscovites. These photographs are documentary evidence of how poorly and unpretentiously ordinary Soviet people were dressed, they had no time for fashion, they had to restore destroyed cities, put their land in order after nearly five terrible years spent in the war."
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And indeed, the film was released three years earlier, and it was not Dior's fashionable landing that influenced the young rising star of the domestic film industry. Lyudmila-Lenochka drew her inspiration from completely different sources."But, nevertheless, new trends began to appear in fashion. To replace the colorful chintz dresses, over which masculine jackets with straight shoulders were worn, a new feminine silhouette began to take root. This is how we see Lenochka Krylova from Carnival Night performed by Lyudmila Gurchenko ( The film was released in 1956).
Lyudmila Gurchenko received the most significant role in her life after the test, in which she used the image of Lolita Torres:
In order to feel this similarity, I suggest listening to the very song performed by Lolita Torres, with which, perhaps, Lyudmila Gurchenko performed at the audition (at least, it was this recording that was shown by the projector at the exhibition "Another Gurchenko"):"Many actresses auditioned for the role of Lenochka Krylova in the film Carnival Night. At the audition, I sang Lolita Torres' song from the film Age of Love. Everyone said that I looked like her, and I liked it. I copied it so much that if close your eyes, you can’t tell who is singing - Lolita Torres or me. It delighted everyone, and me even more.
Thanks to the author Vera Seregina, who posted on YouTube this particular excerpt from the film "The Age of Love" (1953 release).
Agree, there is definitely some similarity with the manner of performance, behavior and appearance of Lyudmila Gurchenko - Lenochka Krylova. And, most importantly, there is Gurchenko's trademark - a wasp waist combined with a feminine silhouette. And, what is most interesting, this sign appeared in Lucy much earlier than her creative success expected.
DRESS No. 1. SUIT FOR ENTRY TO VGIK
When Lyudmila Gurchenko came to conquer Moscow from her native Kharkov in 1953 and entered the VGIK (All-Russian State Institute of Cinematography), she wore a custom-made suit with a thin waist and a model skirt with flounces:
The costume, of course, was badly battered over time, but even now it is noticeable that it was designed to very appetizingly fit the forms of its owner and emphasize her dignity as much as possible. Numerous darts, wasp waist, bias-cut frill. But where does an 18-year-old girl get such masterful sewing skills?
We find the answer in the annotation to the exhibition "Another Gurchenko":
And from Valentina Radchenko, quite possibly, Lyudmila Gurchenko adopted another interesting feature - her love for buttons (from the annotation to the exhibition):“The beginning of this gift must be sought in early childhood, when in the German-occupied Kharkov they had a roommate Valentina Sergeevna Radchenko with their mother. “From Aunt Valya, I learned to cut “by eye”. No cutouts. Aunt Valya will put the "matter" in front of her, chik-chik - and in fifteen minutes the fitting is going on. And I'm here ready. I hold scissors, chalk, centimeter. Ready to anticipate and fulfill her slightest desire. And both of us in ecstasy purred "Great Waltz".
Therefore, the suit for admission to VGIK also suffered: he did not have his buttons left, and those that are on display now were already sewn on by employees of the Museum of Theater and Musical Art.“Lyudmila Markovna had a special relationship with buttons: when a suit or dress became uninteresting to her, she usually handed them out, but she always cut off the buttons beforehand. Buttons were for her like paint for an artist, they were material for her further fantasies.”
And next to this first costume, I want to show what an interesting solution the employees chose to decorate the museum space of the exhibition: they placed all the annotations and photo reproductions on large hanging patterns of patterns:
Thus, accurately emphasizing the main theme of the exhibition - the modeling and tailoring of a fashionable wardrobe.
It is from these patterns that I will quote Lyudmila Markovna herself:
From an interview with Lyudmila Gurchenko. "Moskovsky Komsomolets" September 12, 1998:
From the book of Lyudmila Gurchenko "Applause":“After Carnival Night, crowds of fans followed me. I had one gray dress - pieces were literally torn off from it as a souvenir. Invitations to concerts rained down. But I didn’t have stockings. I took stockings from the pianist, and she turned the piano like this so that they don't see their feet."
"They swept nylon blouses off the shelves, starched skirts for the entire width of the corridor, curled their hair in ringlets over beer."
From the book of Lyudmila Gurchenko "Applause":
Not Dior became a role model for all Soviet women, but her own, home-grown film star, who flashed in a cult film throughout the Soviet Union. And Lyudmila Gurchenko had to correspond to this status all her life. With no Hollywood fees and barely living off odd jobs, she turned to those skills that she masterfully and masterfully owned - sewing outfits herself or making “wonderful” changes to ready-made dresses and suits.“In the spring, a record was released with songs from the film (“Carnival Night”), familiar melodies poured out of the open windows. ", and joked. Everything was. The popularity of the picture grew and grew. The girls sewed dresses for themselves, exactly like in my film, lost weight, tightened their waists, let go of their bangs on their foreheads, twisted their hair with rings. Sometimes I froze like a setter in standing: I myself was walking towards me!
DRESS #2. RED DRESS WITH COLLAR AND SATIN BELT
This dress, according to the museum guide F.I. Chaliapin, apparently, was not sewn by Lyudmila Markovna herself, but in an atelier. But special details immediately give out what changes she made and how she turned the usual pattern of a women's dress into something of her own - individual and "with a twist."
This, of course, is a lot of darts that thin the waist, neat buttons in large quantities (and on the sleeves too), a satin belt repeated with inserts on the shoulders:
And delicate ornate sewing on the pockets and turn-down collar:
Interesting intricate details, not typical for the stiff factory post-war Moscow. But where do these origins come from?
Of course, from the homeland - from Kharkov, from the Ukrainian side.
ALBUM OF FAMILY PHOTOS OF LYUDMILA GURCHENKO
The family meant a lot to Lyudmila Gurchenko. And most of all, her father is Mark Gavrilovich Gurchenko (pictured with Lyudmila's mother, Elena Alexandrovna Simonova-Gurchenko).
In most of her memoirs and interviews, Lyudmila Markovna always emphasized that it was dad who laid in his daughter both the “flint” character, and the ability to show herself, and absolute and unconditional confidence in her stellar future. I never doubted this, and returning home from the war alive and unharmed, I did everything to send Lucy to Moscow in 1953 to conquer heavy peaks.
It was so strange to see such photos. Thanks to the organizers of the exhibition for bringing them. Not glossy pretty, but "their own", homemade. They fit very well with the theme of the exhibition, related to home, handicraft - sewing and embroidery.
And they very well echoed the memories of Lyudmila Gurchenko about her childhood:
From the book of Lyudmila Gurchenko "Applause":
And, by the way, the ability to absorb everything you need was reflected not only in the passion to become an actress, but also in many other passions of Lyudmila Markovna. Including her love of collecting."... I look at photos of mom, dad, mine. And I involuntarily smile, and feel a sharp, aching nostalgia for that unique time. I was never bored and uninterested at home with my parents. There was an amazing healthy atmosphere in our house. Everything - and bad, and good, and terrible - everything is open! Nobody was embarrassed to be weak, if someone felt bad - jokes stopped, and all strength, all tenderness and love were transferred to the one who was having a hard time. I grew up in a strange, chaotic, unsystematic and, perhaps, an unreasonable, but clean, kind, wide and absolutely irrational family. My great passion, to become an actress, was constantly fueled by my dad. He believed in me. I went straight to my dream, without doubts and reflections, absorbing everything I needed ".
EXHIBITS OF THE COLLECTION OF LYUDMILA GURCHENKO
From the annotation to the exhibition "Another Gurchenko":Ruby glass goblet with enamel painting - a gift from E.R. Christmas, and here is a kokoshnik with artificial flowers - for sure, a stage attribute:“The passion for collecting was also evident in the character of Lyudmila Gurchenko very early. “A twenty-year-old girl stands for hours in an expensive antique shop. Not a penny in her pocket, but she is thrilled, dying from beautiful things. So, for the second salary, I bought a Peter's girandole with numerous beads, pendants and light bulbs.
Lyudmila Gurchenko loved to collect objects of arts and crafts, her collection includes old embroideries, porcelain, paintings, objects made of uranium glass (her pride). This exhibition presents this famous girandole, several old embroideries, as well as gifts from her friends and admirers of talent. Among them is a brooch with an attached letter - a gift from M.L. Rostropovich, a goblet of ruby glass from E.P. Rozhdestvenskaya, a belt with gold and silver threads from F. Kirkorov, and touching cross-stitch embroidery from one of the many admirers.
Vintage beadwork in Karelian wood frames:
And the same Peter Gurchenko girandole made of milky blue glass, crystal, marble, bronze, metal and wood:
It seems now a naive acquisition, but at that time, for sure, it was real wealth.
Gifts from Rostropovich, Kirkorov and a grateful admirer are located at the exhibition a little further, and I will show them below, but for now I return to the main theme of the story.
DRESS #3. DRESS WITH BRIGHT DIAGONAL STRIPS FROM CHRISTIAN DIOR
From the annotation to the exhibition "Another Gurchenko":The dress from Christian Dior at this exhibition was the first dress that demonstrated how boldly Lyudmila Gurchenko put a needle and made changes to authoritative creations:"Among the exhibits provided for the exhibition are family photographs, dresses that Lyudmila Markovna sewed with her own hands, as well as dresses from famous fashion designers Christian Dior, Valentin Yudashkin, Gurchenko boldly modified their models, without bowing to authorities. With her additions, she, as a rule, "sharpened" the costume, making it more extravagant, adapting to her temperament. Often the costume became a kind of mask for the actress. It was the actress's workshop-laboratory in which this or that image was built. Jewelery and all kinds of additions to the costume were of great importance for Lyudmila Gurchenko They are also presented at the exhibition: buttons of all kinds, turned by her into original brooches, earrings, belts, decorated with beads, embroidery, feathers."
Unfortunately, the creators of the exhibition did not indicate at least the approximate year of birth of this or that dress, and I do not know exactly when they were bought and modified. But on some plates it was written what changes were made.
In a dress from Dior, Lyudmila Gurchenko brought red bows on the cuffs:
But I agree with the guide that, in addition to the sleeves, she also brought in a small collar and buttons on the diagonal of the shelf:
Because the fabrics of these parts are very similar, and the buttons support this assumption with their color. But the true story is still a mystery, shrouded in darkness.
By the way, the annotation to the exhibition says that Lyudmila Gurchenko "sharpened" the original costumes. But the abundance of additional embroidery, rhinestones, beads, frills, bows, some small feminine features, in my opinion, rather, on the contrary, "softened", filled things with more feminine energy. It filled forms and materials with roundness, "fluffiness", warmth, grace, something that loudly declared: "I am a real woman! A woman with every cell of her body"!
Yes, this statement sometimes sounded too loud and looked very extravagant. But that's why she's a star, to do everything "on the edge."
DRESS No. 4. KNITTED FROM TWO CHILDREN'S DRESSES
This dress very well illustrates the memories of Gurchenko, which are given in the annotations to the exhibition "Another Gurchenko":So this dress, which looked like overseas on Lyudmila Markovna, was sewn by her from two knitted children's dresses:“The young actress had to look beautiful and attractive. Here her gambling gift of experimenting came in handy. You sit, twist, turn, go out - everyone gasps! Where did you buy? Yes, so, I say, I accidentally got it, overseas ... And everyone believed. And then, after a while, - grab the sleeves from him, and instead of folds - a "pipe" skirt. And you walk like a Japanese geisha, bale-bale-bale in heels. Furor! A single dress was altered a record number of times. Painfully, the material was entertaining."
Here, the photo does not show the lines along which the cuts of the dresses were sewn, but this just demonstrates how well the actress imagined the future image of the finished dress in her head and successfully guessed the style and method of sewing it.
And, of course, I chose “my own” materials - successful, allowing you to advantageously present both the figure and the idea of the dress itself:
To get an interesting peephole on the back, she used both necklines - both the main dress and the second - simply sewing one under the other. Simple and tasteful.
And the organizers of the exhibition with this dress had their own association with a certain text in the memoirs of Lyudmila Gurchenko, where she was horrified by her quick success and the burden of responsibility and wanted to return back to her childhood, to her father and mother:
From the book of Lyudmila Gurchenko "Applause":
But dad's daughter had a flint! And having gathered her strength, relying on many fans who fell in love with her and on a small number of friends, she began to create the star that we know today with her own hands."I went up to the microphone - the audience swam. I absolutely remember that at that moment I - to the point of screaming! - most of all I wanted to go home to my dad and mom. That's what I dreamed about. But this burden is beyond my strength, I can’t in order to carry it, to correspond to what happened to me and what is expected of me - for this I have no opportunities: neither moral, nor material, nor physical. In the most joyful, it would seem, minute - the apogee of popularity - I felt loneliness and fear, a desire to hide from my parents from everything that had fallen on me, exhausted me, took away sleep, peace and joy.
And here it is time to show gifts from Mstislav Rostropovich and an unknown fan:
A cover letter from Mstislav Rostropovich for a gift to Lyudmila Gurchenko - a brooch in the shape of a flower (the author's punctuation is preserved):
A four-leaf brooch made of gold, mother-of-pearl and a diamond Lyudmila Gurchenko often used in her wardrobe, inventing various design variations for it. At the exhibition, it was shown in the most spectacular form - on a contrasting background of black satin ribbon and lace."Dear Lyudmilochka, I hope that you received from Washington 100 roses that I sent you three years ago, and I asked my secretary Nadia to put my letter there. She later told me that she had sent the flowers, but she received the letter too late (!? ) There was so much fire of love for you in this letter that if it remained in her desk, it would burn through everything... the ceilings of the Kennedy Center and... the cars in the lower garage, rest in the ground waiting for us.
Of course, you understand that it was your article in a Russian newspaper that gave me the courage to personally address you several years ago, in connection with the putsch.
For me, your words were a great reward.
If my secretary, having deceived me, did not send you roses, I am sending one flower with this letter, believing that it will not wither!
And a gift from a fan is a hand-embroidered linen napkin in the form of Lyudmila Gurchenko in her first starring role in that very "Carnival Night":
And on this page we close the book with the story of the young Lyudmila Gurchenko, who took her first steps in filmmaking and needlework, and move on to the second book - about Gurchenko, mature, self-confident and hardened by years of lack of demand in cinema.
And what bright distinctive feature appeared then in Lyudmila Markovna? Yes, love for spectacular headgear:
She knew how to create them in any quantity and quality, but, most importantly, she knew how to decorate them! Decorate brightly, brilliantly and in a way that only she could wear.
And she created all this at home - in her home laboratory-workshop.
WORKSHOP OF LYUDMILA GURCHENKO
Of course, at the exhibition it was an invented entourage. But the components were exactly the same for all Soviet needlewomen: a large table, newspaper patterns and fashion magazines:
Please note: the employees of the museum did not attach any patterns, but Dior's silhouettes. Specifically, the photo above shows the details of the shelves of the club jacket, which was popularized by Christian Dior in the middle of the 20th century. He called for tightening a narrow waist, and from it to lower a short peplum frill down to create his favorite feminine hourglass silhouette.
Like it or not, there was still fashion in the USSR. Of course, its own and very peculiar, but still it was. The main thing was to have hands and a head to create fashionable clothes for yourself. Gurchenko had both.
The holy of holies of any seamstress - tools:
A metal candy box used to store beads, bugles and sequins:
A box, scissors, a needle bed and, of course, such precious buttons for the actress:
And with the help of all this, this beauty was obtained:
Decorative hat:
Belt:
Theater bag:
Or boutonniere:
And the ability to "absorb everything" came in handy when creating stage images: the actress could easily turn the details seen in magazines into part of some theatrical costume.
How, for example, this headdress from a foreign magazine became an ornament to the image of Madeleine performed by Lyudmila Gurchenko staged by Roman Kozak in 2001:
But the fifth dress at this exhibition evokes complete surprise and admiration for the skill of Lyudmila Gurchenko as a needlewoman.
DRESS No. 5
Honestly, I don’t know how long it could take for such painstaking work? And this is subject to constant rehearsals, filming and performances.
As her last husband, Sergei Senin, said in an interview, she was very industrious, patient and monotonous in embroidering all her products in her own bed. And he woke up in a bed filled with beads.
By the way, this is so far the only dress that I found on the Internet on Lyudmila Gurchenko herself. On the site "KINO-TEATR.RU" there is her photo next to Irina Miroshnichenko - http://www.kino-teatr.ru/kino/acter/w/sov/1164/foto/i6/176738/. The only pity is that the photograph is in black and white, and it does not show how this time-consuming embroidery was played live.
EXHIBITION No. 6. BLOUSE FROM LACE AND SATIN, DECORATED WITH rhinestones
What could be more feminine than lace? Only lace, decorated with stones:)))
And here, on a patriotic-lace wave, the organizers, of course, brought the favorite epithet of Russian fashion historians when it comes to our original and magnificent stars - "Selfmade":
Newspaper "Screen and Scene". November 23, 1995:
From the book of Lyudmila Gurchenko "Applause":"Lyudmila Gurchenko, unlike the Western ones, is a star in Russian. Self-made. Selfmade. With her incredible artistic and outstanding feminine instinct, she discovered this heavenly mechanics."
Of course, experiencing such a strong dependence on the form and type of clothing, the actress was forced to pay a lot of attention to the correspondence of the external form to her inner worldview and the tasks for which the costume or dress was created.“I noticed: if I am dressed in a long one, I have a gait, and a voice, and height, and a smile, and age, and a train of thought are one. If I am dressed in a strict business suit, they are different. If I am wide and shapeless - third. If in a narrow and short one - fourth. Sometimes the main thing in a suit, in behavior, is decided by a peripheral detail - well ... the width of the armhole, for example."
And, in my opinion, the seventh exhibit of the exhibition - Yudashkin's concert costume - most clearly and successfully demonstrates how Lyudmila Gurchenko could completely change the whole essence and effect of her costume with one peripheral detail.
DRESS No. 7. CONCERT COSTUME BY VALENTIN YUDASHKIN, DECORATED BY LYUDMILA GURCHENKO BOA AND FEATHER CUFFS
A wonderful bird, a bird of paradise! Honestly, I would never have guessed that such "heavy" materials as suede-velvet and satin can be softened and made airy with the help of feathers! Only one element - a feather, and what a bright and flying stage image turned out!
And the colors of the feathers are perfectly matched, and the coloring to match the suit is very accurate. And, yes, the whole costume as a whole turned out very "Gurchenko-style": with brilliance, with chic, with a touch of attractive retro from the times of the "great dumb" and old Hollywood.
Take away the feathers - and the firebird will turn into a business lady, and even a bright color will not save the situation. No, play, play like that!
And since we are talking about the stage, it's time to read what Lyudmila Gurchenko said about her main passion and her own torment:
From the book of Lyudmila Gurchenko "Applause":
This great responsibility for the movement of the cinematic ocean, it seems to me, was also reflected in her attitude to stage images: she carefully thought through every detail, adding the necessary nuances, placing precise accents, completing the image with elements that directed the waves in the right direction.“Previously, I only saw my role in the film. It seemed to me a small bay that crashes into land from the ocean. And I thought that my bay lives on its own. And for some time now, I felt that my role is part of a huge pool. And most importantly - it is subject to the laws and vagaries of ocean life - i.e. films in general. This feeling appears when you play big roles. You play "without leaving the frame. When step by step you feel that the movement of the role - this is the movement of the film. And now I suffer from this feeling. "
For example, with gloves decorated with glass beads and sequins:
Plain knitted gloves would have been too ordinary a wardrobe detail for an actress who sometimes spoke with her hands more than her lips. And, perhaps, here she added the same effect of wings as in the suit from Yudashkin.
Velvet kokoshnik with feather decor, made on the basis of head hoops:
"Couture model" produced by Lyudmila Gurchenko! Amazing in her style. A very recognizable accessory and very accurately creates the right mood for everyone who looks at it.
And here is the next exhibit, probably not so recognizable, but it perfectly illustrates both the level of skill and the level of responsibility that the actress felt and carried in her image. This is a decorative shoulder collar made entirely of beads by Lyudmila Gurchenko:
The bead itself is not a very expensive material, but the effect it produces in the finished product can be phenomenal. And in combination with a precisely matched pattern, like that of Lyudmila Gurchenko, it may well make a splash and become a museum exhibit. Great lesson from a great actress!
At the stand next to the above exhibits, other handmade items by Lyudmila Gurchenko were exhibited.
Accessories assembled from buttons, brooches, chains, etc.:
Decorative belt from ancient fragments:
And next to it is a slightly strange accessory in the form of a cord - a decorative belt made of gold and silver threads - this is a generous gift from Philip Kirkorov:
In my opinion, it would be better if he did not disgrace himself. To give such a gorgeous woman a noose is not the most beautiful step for a man.
Let's forget about this misunderstanding and move on to the new zone of the exhibition "Another Gurchenko".
DRESS No. 8. VELVET
It seemed to me that this feminine and soft dress appeared at the exhibition as a bridge between the era of the Soviet era in which she happened to live, and the era in which she drew inspiration when creating her fashionable wardrobe - this is from the end of the 19th to the middle of the 20th centuries .
It was in this corner that the organizers of the exhibition placed a stand with the works of Russian actresses of that era, allowing to draw parallels and show the continuity of needlework from century to century.
From the annotation to the exhibition "Another Gurchenko":
"Lyudmila Gurchenko had famous predecessors, actresses - stars of their time, such as V. Asenkova, A. Vyaltseva, O. Spesivtseva, E. Time. Their hand-made works are also presented at the exhibition."
The first in this list is the actress of the Alexandrinsky Theater:
Her, for sure, the thinnest fingers completed this wonderful embroidery, located in the center of the wooden tabletop:"Varvara Nikolaevna Asenkova (1817-1841), actress of the Alexandrinsky Theater. One of the favorite actresses of the Sovereign Emperor Nicholas I. Among the roles: Cherubino ("The Marriage of Figaro" by P.O. Beaumarchais, 1835), Marya Antonovna ("The Government Inspector" by N.V. Gogol, 1836, the first performer), Ophelia ("Hamlet" Shakespeare), Esmeralda ("Esmeralda, or the Four Kinds of Love" based on Hugo's novel "Notre Dame Cathedral", Cordelia ("King Lear" by Shakespeare, 1838) and others.
Thank God, I more or less got it in the photo, but I couldn’t remove the tabletop itself - the lighting was too dim.
By the way, please note that this exhibit and the next three were provided by the Museum of Theater and Musical Art, and not by the Museum-workshop of Lyudmila Gurchenko. This is a very successful symbiosis of the organizers of the exhibition, when one can provide a lot of useful historical exhibits that support the main theme of the exhibits of another organizer.
The second exhibit of the historical corner belongs to the hand of Anastasia Vyaltseva:
Anastasia Vyaltseva left us a napkin embroidered with a floral pattern no later than 1913:"Anastasia Dmitrievna Vyaltseva (1871-1913), singer (mezzo-soprano), performer of gypsy romances, operetta artist. She served in the operetta entreprise of I. Ya. Setov and A. E. Blumenthal-Tamarin, in the Aquarium Theater, in the troupe of S. A. Palm. Since 1897 she began solo concert activity. Vyaltseva's concerts have always been a resounding success, and gramophone records with her recordings were released in huge circulations.
Excellent preservation of both materials and colors. And, of course, a wonderful selection of patterns and shades, not to mention the subtlety and craftsmanship of the work.
The following sample will be somewhat unexpected in this needlework sequence, and it belonged to a Russian ballet star:
This is a woven shoe made by the hands of a ballerina:"Olga Alexandrovna Spesivtseva (1895-1991), ballet dancer. She served at the Mariinsky Theater, participated in performances of "Russian Seasons" by S.P. Diaghilev, performed at the Grand Opera, in various theaters in Europe and America. Collaborated with M. Fokin and J. Balanchine. Giselle from the ballet of the same name by A. Adam is considered Spesivtseva's crowning role on the ballet stage.
According to the guide, she most likely used these shoes as home shoes. But in the current era, it could well have been used as a day off to the street.
And, finally, the last historical sample is, rather, a whole historical monument. It was created and belonged no longer to an actress, but to an eminent acting teacher:
She left us an amazing idea and a thing - a tablecloth autographed by cultural figures of her time:"Elizaveta Ivanovna Time (1884-1968), dramatic actress, teacher. Actress of the Alexandrinsky Theatre. She performed in operetta, with reading programs on the stage. Known as a performer of the artistic word. In the reader's repertoire of the artist were "Anna Karenina" by L. Tolstoy, "Walking through the torments" by A. Tolstoy, "Klim Samghin" by M. Gorky, works by A. Pushkin, H. Nekrasov, Guy de Maupassant. People's Artist of the RSFSR.
Elizaveta Ivanovna Time asked each friend who came to the house to sign on the tablecloth, and then she embroidered this painting with threads. The result was such a large-scale canvas, which has both decorative and historical significance.
Something tells me that if Lyudmila Gurchenko found out about such an idea, a similar tablecloth would definitely appear in her house! But she would look incommensurably richer, more luxurious and reflect her active temperament.
"There are women, actresses - always even, pleasant, beautiful. From the fact that they put on a beautiful, unusual outfit, they become even more beautiful, but remain recognizable. It's getting harder for me. I'm completely, totally changing. I'm becoming new for myself. And this new thing puts me in a game of chance, I'm suddenly afraid of myself, and I need a huge tension of the whole organism, maximum self-control, so that this new thing doesn't get carried away.
From the book of Lyudmila Gurchenko "Applause":
And on this note, we move on to the last costume of Lyudmila Gurchenko at this exhibition:“Who said that it’s difficult for a woman to dress fashionably? I never understood this. In the poorest institute times, 3-4 rubles for chintz were always there. And penny ribbons and lace for decoration? By God, everyone envied me! so many outfits! ". And later, when there was nothing - no salary, no work in the cinema ... You buy an idiotic dress in a large size in a commission. And what is fantasy, fantasy for? Where did you buy it? Yes, so, I say, I accidentally got it, overseas ... And everyone believed. And then, after a while, - grab sleeves from him, and instead of folds - a "pipe" skirt. And you go like a Japanese geisha, bale-bale - a bale of heels. A sensation! And I altered one dress a record number of times. The material was too amusing."
DRESS #9
The star must shine! Otherwise, what is she a star?
Only now you look at all this splendor and ask yourself one single question: why such a huge creative potential of Lyudmila Gurchenko as a designer and needlewoman was not embodied in any fashion line? Starting from the time when half the country sewed dresses exactly the same, like Lenochka Krylova from Carnival Night, and ending with our days, when with the collapse of the USSR, unlimited opportunities for the production of clothes appeared in the country, and women have taste in its creation did not appear.
It so happened that by the end of my acquaintance with the exhibition, very sad thoughts came over me, and the last words of Lyudmila Gurchenko reinforced them even more:
From the book of Lyudmila Gurchenko "Applause":
Well, lesson learned: "Don't relax, ladies! Chest forward, head straight, step from the hip. Being beautiful is work! And this is a personal work for each of us! Do not wait for favors from fashion manufacturers, create it yourself. With your own hands , sweat and time. For this, universities and expensive sewing machines are not needed. Only hands, a head and imagination, what is fantasy for?!""The car is spinning - the filming period is on - so be kind, turn around, have time, be healthy, cheerful and beautiful. That's what is required of you. How you achieve this is your business. Work! When you look at the screen as a child, then least of all such a prosaic word "ra-bo-ta" is applicable to radiant vision. And this work is a real hard work. You walk down the street (during shooting) in a satin black coat. In a black hat with feathers, wrapped in a three-meter fox, and in a hotel you clean and you wash off dust, makeup and dirt, like a real stoker.
The only pity is that this master class from Lyudmila Gurchenko sounded after her death. How many interesting and useful things she could tell her fans about the intricacies of this tricky business - creating her most winning, happiest dress. How much I could teach and how many I could inspire! What a pity it's so late...
On the other hand, many thanks to the organizers of the exhibition for collecting and exhibiting all this material. And, of course, many thanks to those who were involved in cataloging, studying and analyzing that large wardrobe that is located in the museum-apartment of Lyudmila Gurchenko. He was engaged in order to preserve and acquaint us with this heritage, and not to consign to oblivion in dusty cabinets and drawers. Thank you for this work!
