There are many mysteries in Soviet history and fate of people and the Soviet state. Demands of government left to little of free excess forces. Entire external activity of the Soviet man went for the State service. And it left a bleak stamp on the life of the Soviet man. People almost do not know how to enjoy what ever. Government ownership of immense spaces, accompanied by terrible centralisation, subordination of whole life to the State interest and suppression of free personal and the social forces. There is no narrowness of the European man in a Soviet man, European who concentrate his energy in a small space, Soviet man up until now does not have this prudence, ability conserve space and time, culture intensity. What happened when USSR collapsed, what life was like and what is the cultural aspect. Within my topic I do research and observe mainstreem style that comes from past. Eplaning what is the link between 90’s of east europe and nowadays of west europe. I am explaining how aesthetics on post soviet space remains the same and what is the reason of that. Since I was a child of big Perestoyka times when USSR collapsed and my parents were the one who leaved two lives (before and after the big wall) I have a big background and information source do discover and compare. It was the 90’s that put an end to censorship and created the impression of total freedom. The early 90’s, one of the most controversial times in the recent history of the former Soviet republics, was an era of cultural upsurge. The new Post Soviet aesthetic is the epitome of postmodern irony with its crazy, incoherent, starling mixture of allusions and motifs. The new collides with the old in quirky ways. The Soviet idea of youth was completely sterile, limited to portraits of wide-eyed adolescent heroes from socialist murals. In my thesis, I am exploring the scene of post-soviet individual and comparing it to nowadays fascination from a western side. What influenced on what. How style was involved in the design and what it brought to nowadays. How big is the gap between East and west and what is the resuld of it. Summing up, with its candor and irony, wit and simplicity of design, the new Soviet aesthetic has garnered hype for a good reason. It’s exciting to watch this style evolve as designers discover new inspirations within the Soviet cultural legacy.


     Hard period in recent history, which began in the late 80’s, formally taking the countdown to the collapse of the USSR date (26.12.1991) and formally ended in Russia, renunciation of the throne of the king Boriska (31.12 in 1999). Briefly atmosphere period can be characterized as “suddenly everything was possible (but not all).”

     Due to a history of Soviet occupation, has around 25% ethnic Russian population. Slavic males (especially youth) drink vodka and spit out sunflower seeds while squatting nonchalantly near the entrance of a corner store. At least in Russia it comes from the prison subculture that had also seeped into the low class general population and became the so called “gopnik” subculture.

     Major Motoko Kusanagi is the main protagonist in Masamune Shirow’s Ghost in the Shell anime and manga series. She is a “full-body prosthesis” .

     Umberto Eco ( 5 January 1932 – 19 February 2016) was an Italian novelist, literary critic, philosopher, semiotician, and university professor.

     Perestroika was a political movement for reformation within the Communist Party of the Soviet Union during the 1980s, widely associated with Soviet leader Mikhail Gorbachevand his glasnost (meaning “openness”) policy reform. The literal meaning of perestroika is “restructuring”, referring to the restructuring of the Soviet political and economic system. Perestroika is sometimes argued to be a cause of the dissolution of the Soviet Union, the revolutions of 1989 in Eastern Europe, and the end of the Cold War.



Magazine/newspaper article:

1. Syrkov, V. “Freedom to free speech on Art topic”, Reklama, 1991. p.28-29

2. Pelovskiy, R. “Design and us”, Reklama, 1990. p.10-13


1. Plakat style from USSR to 21 Century, Kiev, Ukraine, Arsenale, 11.10.2016 Web sources:

1. Sbitnev, N. (2007) Commercial style in a graphic design. Available at: http://www.bo0k.net/index. php?p=achapter&bid=13350&chapter=1 (Accessed: 3 January 2017).

2. Fedorova, A. (2016) How to be a man: A new generation of artists is rethinking the meaning of masculinity in Russia. Available at: http://calvertjournal.com/features/show/5472/post-soviet-youth-masculinity- boyhood-Russia (Accessed: 5 January 2017).

3. Leach, A. (2016) Why 2016 was the year of post-soviet fashion. Available at: http://www.highsnobiety. com/2016/12/28/post-soviet-fashion-vetements-gosha/ (Accessed: 2 January 2017).

4. 90’s (2000) Available at: https://lurkmore.to/Девяностые (Accessed: 2 January 2017).


1. Igrickii YI, Shanshieva LN, 1990-2010, Generation of Change in Eastern Europe. Moscow

2. Pavlinskaya A., 1962 ,Graphics around us. Moscow., p. 47