The great October socialist revolution for the first time in the history of the world has erased the social differentiation of the costume. A new concept - the mass suit for workers. Differences in the nature of clothing is now associated not with social issues, and conditions of life and work (town and village), climate (the North, the South, the Far East), cultural and national traditions of the peoples composing the Soviet state.

The beginning was difficult. Economic ruin and starvation reigned everywhere, intervention in the North and the South, the campaigns of the Entente - all this demanded enormous effort of the young Republic. Nevertheless, immediately after the revolution along with other sectors of the economy is rebuilt and transformed textile production.

A huge and extremely complex task of centralizing it was assigned to the Department of ready to wear dresses and lingerie when Centrotekstil in mid-1918 "...for recovery, consolidation and nationalization of production and distribution of ready-made clothes and lingerie on a national scale"1. From April 1919, the Department was made an independent branch headed by the Central Committee of the garment industry (Centrosul) in SEC. She soon became known as "Pavadita".
There is first the mass production of clothes in Moscow (Moscow sewing house) in Leningrad (Leningradsky) and a number of other cities - only ten. Most businesses these associations worked for the army. 

By 1921, many handicraft workshops has ceased to exist, merging into a state industry. There were 279 enterprises, which employ more than 40 thousand people. For some enterprises, it introduced the division of labor, raise its performance.

Documents stored in the archives, in particular, in the Central state archive of national economy, saying that it is extremely hard to go to translate this huge industry, which bore the character of petty-commodity, on the rails of the socialist industry. Views were expressed about the need to save for some time makeshift base. But still couldn't be other way than nationalization and centralization of this production, because only in this way it was possible to establish new relations of production.
Organizational measures could not immediately radically change the appearance of the garment industry restructuring process was long and difficult. Only in the mid 30-ies appeared quite modern at the time of the sewing industry.

The difficulties in the clothing industry was aggravated by the situation with textiles. Life dozens of factories came to a standstill, not enough raw materials, manpower, fuel, no transport. A special Commission of the Supreme economic Council, headed by the member of the Presidium V. P. by Noviny, which examined the textile enterprise centre in 1919, wrote in his report on the former factory of E. tindel: "20 March factory due to the lack of fuel completely stopped and at this time does not work...Difficulties in the transportation issue is even more intensified due to the fact that intended to haul firewood barges received in connection with the offensive of Kolchak another appointment"2. The volume of production fell sharply during the years of civil war and intervention. Goods shortage on the fabric was extremely sharp and could be felt until the end of 30 years is, without a doubt, affect the range and quality of textiles. Until 1924 print was produced in very small quantities, accounted for the bulk dyed fabrics - canvas, canvas, soldier's cloth, low grade wool, baize, worsted, calico, chintz.

The difficult economic and political situation of those years has not cooled the ardor and enthusiasm of the builders of the new world. On the contrary, the first post-revolutionary years marked by the Grand, romantic plans of transformation of life, the scale of creative thought, bold experimentation. Lenin's slogan "art belongs to people" and Lenin's plan of monumental propaganda became the cementing basis on which were built the new socialist culture.Documents archives, newspaper and journal articles relating to the early 20-ies, literally teeming persistent calls about necessity of life, the artistic education of the masses, able not only to perceive and appreciate artistic culture, but to create it yourself.

Huge attention is attracted at this time, production art, because, on the one hand, like any other industry, captures the vast mass of workers. On the other hand, the industrial products are agents of the culture of the new society, the largest and most affordable members of that society.In the famous book "Art in production" this issue is addressed in a number of basic problems of liberated work: "Escaping from bourgeois prikladnala room, where he put old art culture, - production art grows in the depths of the new industrial forms of the creative process"3. Warmly and excitedly sounded the voices of cultural workers in defense of the ideas of the production of aesthetics. Planned sequential program synthesis environment. "Every executor, each craftsman must stand at the height of contemporary artistic requirements.Every worker needs to understand what style, to realize the importance of the harmonic ensemble of the context in which each piece is one of those strokes and colorful spots that make beautiful art together. The worker should not only understand what and why he does, but he needs to learn to write the whole thing in its final form in connection and in harmony with the whole,"⁴. It was clear and very specific program in the area of production of art are still relevant today.The uniqueness of early post-revolutionary years is that then combined these seemingly opposite principles, as the irreality of the future project and sobriety setting specific tasks of the day.

A broad program of actions in the field of creation of new forms of suit is planned by the beginning of 1919. When artistic production subdivision FROM the people's Commissariat created "Workshops of the modern suit", which was headed by well-known artist and designer Nadezhda Petrovna Lamanova. She belonged to herself the idea of organizing this workshop, with which she appealed to the people's Commissar of education Lunacharsky.

Elaborated and the training programme in the Studio, or "Studio production art of the costume", as originally named her the artist. This valuable document is preserved in the personal archive of N. Lamanova.

On the first all-Russian conference on art industry in August 1919, Lamanova said: "Art should penetrate all areas of life everyday life, developing artistic taste and flair to the masses. Clothing is one of the most appropriate conductors... Painters needs in the field of clothing to take matters into their own hands, working on the creation of simple materials simple but beautiful forms of clothing, suitable to the new way of working life"⁵.

In these words was expressed for the programme of Soviet art modeling. Lamanova itself in all its activities ought to the task, don't deviate from them.

"Workshops of the modern suit" became the creative laboratory for new forms of clothes. At the same time there and the first Soviet educational institutions where had to prepare new staff for this great and very important light industry. In January of 1919, organized by the Central Institute of the garment industry and Educational art-industrial workshops of the costume with elaborate statutes, clearly formulated tasks.Now when I read these, preserved in the archives documents, do not feel them half a century ago - so strictly thought out statement of the problem, clearly formulated Cali.
The report on organization of the Central Institute of the apparel industry discussed the need and importance of radical transformation of garment production in the country in accordance with the new socialist organizational structure:"The transition to socialist construction of the production requires the elimination of workshops melkosortnogo type and the creation of large enterprises, factory production with the best technical and hygienic equipment on the basis of least costs labour energy and neutralize the harmful conditions of production on the one hand and the establishment of new forms of clothing in relation to hygiene, comfort, beauty and grace on the other....The development of the process of concentration of production the apparel industry in large enterprises factory type, presenting new requirements to all workers in respect of theoretical and practical knowledge, scientific-technical organization of enterprises, especially acutely raises the question of the training of organizers and leaders of production, and also of teaching staff for vocational education.

A complete lack of textbooks and necessary materials for all branches of vocational and technical knowledge in the sewing industry puts the second task of systematization of all the available materials on the organization of factory production, creation of specialized literature - textbooks, handbooks, establishing the best methods of production, teaching and, finally, the establishment of the Central scientific-educational institution, which must unite and coordinate the work of individual agencies in this area.Such an institution should become the Central institution of the apparel industry, which assumes two main tasks: first, the development and resolution based on research and practical experiences of all the questions of the scientific organization of production, labor and the establishment of hygienic and artistic types of clothes, methods of teaching in vocational schools, and second, the training of technicians-organizers and managers of production and also of teaching staff with full special knowledge"⁷.

At the same time we developed the Position on Central Institute of sewing industry, which was established with the Main Committee of vocational education as the highest educational institution. The problem of creating new forms of mass clothing was supposed to be as complex and artistic, economic and organizational issues. The purpose of CISP was to "...develop materials on the history of the garment industry and industrial geography of Russia and other countries, the establishment of hygienic and artistic forms of clothing, the development of scientific methods of production, sewing industry etc."⁸.

In 1919 in Moscow was opened the Falconers Soviet academic art-industrial workshops of the costume in the conduct of Narkomprosa. It was the first Soviet University, which trained cadres costume artists. At its head was the artist Tarkhanov.In Charter workshops have a lot in common with the position of CISP, but emphasizes the importance of constant effective communication "with the local industry and as individual organizations and an exemplary workshops, industrial arts and the applied knowledge Museum, fine arts societies, trade unions (production of appropriate specialty workshops), public art workshops, etc."⁹. The above documents eloquently testify to the enormous attention and interest in the problems of mass clothes.

On the photo: That looked so "students" schools of Education 20-years - older workers and young people, soldiers of the red Army, tired and dressed who in what, a day working at the bench or fighting with the enemy, and in the evening sitting at their desks. Workers in an old worn-out jackets, shirts and caps, military in uniform and budenovka on the head
 

On the photo: "...You would never, never have believed that this factory week deadline - so everything is established and namaziano, and goes on smoothly, smoothly, smoothly, and felt by the organization. Great organization. A powerful organization... So we have already, I have accumulated over the years of the revolution organizational experience. There are already organizational skills. There is already the ability, the skill..." - so wrote in his essay "Swanzy" A. Youngest on the rapid reorganization of one of the garment factories of Moscow. ("Krasnaya Niva", 1924, № 27, p. 656-658).

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1 Quoted from the decision of Centrotextil. - "Sewing industry", 1967, №1, p. 21. V. Popkov. Industrial sewing industry - the brainchild of the Great October.
2 ZHANG, f. 3338, op. 5., 12. Memorandum on the survey of the factory E. tindel of may 12, 1919. 
3 Art in production. M., "Proletkult", 1921, p. 3. 
⁴ Leonardo. The art and craft. "Art", 1918, № 6(10), page 6 
⁵ Protocols 1 all-Russian conference on the art industry. M., 1920, August, pp. 37 - 38. 
⁶ GAMO, f. 967, op. 1, d. 88, l. 4 - 5. 
⁷ GAMO, f. 967, op. 1, d. 88, sheet 4.
⁸ GAMO, f. 967. op. 1, d. 88, l. 5.
⁹ GAMO, f. 967, op. 1, d. 88, l. 1 - 2.