In the Gallery of Classical Photography, Savvinskaya embankment, house 23, an exhibition of Aslan Akhmadov - "My Lucy" - opened on the occasion of the anniversary of Lyudmila Gurchenko. As part of the project, more than 150 large format photographs will present Lyudmila Gurchenko in dozens of new images and interpretations. Most of them have not been published anywhere before. The exhibition area will be about a thousand square meters.

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.

The work of Lyudmila Markovna Gurchenko made an invaluable contribution to the history of Russian 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 gift that prolongs the creative life of the great actress.

The photo exhibition is dedicated to the 80th anniversary of the birth of Lyudmila Gurchenko.

In 2009, Aslan and Lyudmila began working together on a book-album of photographs dedicated to 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 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 which had not been seen before.

The exhibition is located on two floors of the Gallery of Classical Photography

Lyudmila Markovna Gurchenko (November 12, 1935, Kharkov, Ukrainian SSR, USSR - March 30, 2011, Moscow, Russian Federation) - Soviet and Russian theater and film actress, pop singer and film director. Best known for her paintings: "Carnival Night" (1956), "Girl with a Guitar" (1958), "Old Walls" (1973), "Straw Hat" (1974), "Twenty Days Without War" (1976), "Five Evenings "(1979)," Beloved woman mechanic Gavrilov "(1981)," Station for two "(1982)," Love and pigeons "(1984)," My sailor "(1990)," Old nags "(2000).

Gurchenko made her film debut in Jan Fried's The Road of Truth (1956). “I didn’t come here to be silent!” - this was the first phrase of Lyudmila Gurchenko in the cinema. “This is exactly what I wanted - to come to the cinema, so as not to be silent, not to go with the flow, but to create a wave myself,” Gurchenko said in one of her interviews. In the same year, the New Year's comedy by the young director Eldar Ryazanov "Carnival Night" was released on the screens of Soviet cinemas, in which Gurchenko played the main role. The film was a huge success and fell in love with the audience for many years, and thanks to the role of Lenochka Krylova, Gurchenko became the all-Union favorite and idol of the generation. Carnival Night broke all box office records, with 48.64 million tickets sold. In the USSR, the song "Five Minutes" became a kind of New Year's anthem. Few people know that Lyudmila Gurchenko could not have played in this film, since the actress failed her screen test. Later, Gurchenko recalled: “I was walking with a bouncing gait along the corridor of the Mosfilm studio.” Ivan Alexandrovich Pyryev was walking towards me. I wobbled even more, raised my chin even higher. so that I would follow him. He brought me to the third pavilion, where the shooting took place, went up to the main cameraman, and said that here is an actress, just shoot her better - and there will be a person. That's how I accidentally got into the picture. "

November 12, 2010 Lyudmila Gurchenko celebrated her 75th birthday. Prime Minister Vladimir Putin, President Dmitry Medvedev, Belarusian leader Alexander Lukashenko, as well as many famous artists congratulated her on her birthday. The actress celebrated her birthday on stage.

The work of Lyudmila Markovna Gurchenko made an invaluable contribution to the history of national culture. Several generations have grown up on her films. Many people of different generations perceive her as an idol and an unconditional style icon. For all admirers of the talent of Lyudmila Gurchenko, this project will be a precious gift that prolongs the creative life of the great actress.

Actress, diva, woman. More than 150 photos pierce the infinity of her eyes. Either a goddess from an ancient story, or a completely “other”, earthly one - Lyudmila Gurchenko. These are the last photo shoots of the actress.

It would seem, well, what kind of Gurchenko is Lucy? But in fact, the actress was very fond of being called that. She said that this is recognition, this is how audience sympathy is measured. By the way, her father Mark called his daughter Klyukovka all his life. They say that for her he was ready to turn the head of anyone.

Gurchenko left, being an unsurpassed star. But at the same time, she remained just Lucy. That's what her relatives and fans called her. And Gurchenko liked it. Roles, fame, applause...

The exhibition will be open to visitors until January 10, 2016. Tickets for 300 rubles for an adult, 150 preferential.

I think there are no people who would not hear the song "Five Minutes" performed by Lyudmila Gurchenko

"... Five minutes five minutes
The clock will strike soon
five minutes five minutes
Reconcile those who are in a quarrel ... "

There was a full house at the opening of the exhibition.

The guests were photographed against the backdrop of photographs of the magnificent Lyudmila Gurchenko

Film actress Natalia Nikolaevna Belokhvostikova came to the opening of the exhibition

The opening was attended by the actress of theater and cinema - Larisa Ivanovna Udovichenko

Larisa Udovichenko: A gift that Lyudmila Gurchenko gave me. I was lucky to play with her in one private performance "The Abduction of Sabinyaninov"

Actor Stanislav Yurievich Sadalsky attended the opening of the exhibition

By the way, Lyudmila Gurchenko and Stanislav Sadalsky, starred together in the film "Shurochka" (1982)

According to Stanislav Yurievich Sadalsky, this is the best work of Aslan Akhmadov

Kristina Orbakaite at the opening of the exhibition

In the film "Vivat, midshipmen!" Lyudmila Gurchenko played the role - Duchess Johanna of Anhalt-Zerbst, and Kristina Orbakaite - Princess of Anhalt-Zerbst.

In his opinion, behind him, one of the best photographs

The author of the project will share his impressions of the long-term creative tandem with the actress:
Lucy had one absolutely amazing quality: she knew how to see herself from the outside, and this view of herself was critical, wise and reasonable. I have never met people with more self-criticism than Lucy. She absolutely did not tolerate flattery, was very wary of praise and could not stand falsehood. Her internal falsehood detector was incredibly sensitive. One day I came to her in a depressed mood, I had problems in my personal life, problems with work, and to top it all, I was betrayed by a close friend. I did not want to show this, I decided to hide it all behind a cheerful smile, as it seemed to me, quite skillfully played. Opening the door of her apartment to the well-known overture of the barking of her beloved dogs, Pepa and Gavrik, Lucy at one glance assessed my condition on the threshold, immediately asking: “What happened to you?” I answered cheerfully, pretending to be in a good mood, that everything was fine with me. Lucy silently invited me to enter. Continuing my game in a great mood, I undressed, went into the dining room, sat down at the table that had already become familiar to me. I told a story that seemed funny to me. Lucy was sitting opposite, stroking the dog Pepa sitting on her lap. She looked somewhere to the side, it seemed that she did not listen to me at all. When my cheerful story ended, Lucy, after a short pause, which seemed to me an eternity, said: “You are so fake now. Not a single honest note. All past. For me, it is better to sit honestly and silently together in a bad mood than to fake fun. I don’t know what happened to you there, but I am your friend, and this is forever. She said this in a completely calm tone, but I knew that Lucy did not throw words into the wind.

The novelties of technological progress almost always left Lucy indifferent, or she pretended to be. She called the computer Hollow. When I asked her why “Hollow”, she answered me that Papa, as she called Sergey Senin, her husband, was sitting staring at him like a woodpecker in a hollow. But then one day she nevertheless asked Seryozha to teach her how to handle him.
She learned to use the new iPhone of the latest modification, donated by Philip Kirkorov, with difficulty: she could not get used to the touch keyboard. While practicing typing, she sent me SMS with aphorisms by Mikhail Zhvanetsky with typos, since she was not always able to get to the right letters. Following the aphorisms were messages with obscene expressions, which she wrote out of desperation, complaining that she could not cope with the technique. It made me very happy. Mat from her lips for me sounded like poetry.

Once I showed her some of my videos, shot with a new camera. The news that a modern camera can shoot movies, led her to indescribable delight. “We must definitely take something off,” she said. We filmed several tests for a future short film, which, unfortunately, was never completed. Some of these shots were included in this clip, which, sadly, was Lucy's last cinematic work.

“People die of loneliness, they don’t write about it in the death certificate, but it’s true ...”, - this is how the monologue of the heroine Lucy in the musical Bureau of Happiness began. Lucy often spoke about death, but she was not afraid of it, saying: “I grew up in the war, the corpses of people lay on the streets and we lived with it. It's scary, but a person gets used to everything. Death has become a part of life for us.

“You see, this is my daughter, my cranberry, to play. What, don't you believe? This is my Lucy! Through my daughter, we and my Leleya will get into history! ”, - depicting the Kharkiv dialect of her father, Mark Gavrilovich, Lucy told how he was in a cinema in Kharkov while watching Carnival Night and told everyone that his beloved daughter was on the screen. Lucy could talk about her father endlessly and I was always very amused by her stories about him. I laughed, and Lucy said: “Well, what are you laughing at, what are you laughing at? You'll see, time will pass and you will also get into history, through me.
When in 2010, in the world's largest auction house Phillips de Pury, we submitted for auction about 100 works made by me over the entire period of my creative activity, the commission selected only two works - these were photographs of Lucy's hands. On November 8, 2012, at the Phillips de Pury auction in London, they were sold along with the works of the world's largest artists. So "through" Lucy and I got into history.

It will seem strange to many, but Lucy did not like the song “Five Minutes”, to be more precise, she hated her. The song brought her incredible success, but at the same time became a great emotional trauma. After the film "Carnival Night" she did not act for a long 17 years - they did not take it! There were hundreds of screen tests and not a single new role. She went on tour through the vast expanses of our great Motherland with concerts - for her it was the only opportunity for creative realization and earnings. “So that I don’t sing, the audience always waited only for her,” said Lucy, recalling that difficult time for her. As much as she did not want to, she still had to sing this song: she was always expected at concerts, not a single New Year's TV show could do without it.

Official opening of the exhibition "My Lucy"

In general, the biography and character of the actor can be traced by his roles. No matter how subtly he reincarnated and hid behind the text. Everywhere, in all roles, there is a particle of me.
- From an interview with L. Gurchenko for the Stas magazine, 1996.

Here is such a wonderful photo exhibition "My Lucy" held in the Gallery of Contemporary Photography. Thanks to the author Aslan Akhmadov and everyone who helped him for such a unique opportunity to enjoy Lyudmila Gurchenko

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: the factory red brick perfectly set the tone for this exhibition: 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 at 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 troops" 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 dressed ordinary Soviet people were, 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."

"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).

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.

Lyudmila Gurchenko received the most significant role in her life after the test, in which she used the image of Lolita Torres:

“Many actresses auditioned for the role of Lenochka Krylova in the film Carnival Night. At the audition, I sang the song of Lolita Torres 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.

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"):

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 fit the forms of its owner very appetizingly 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":

“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".

And from Valentina Radchenko, quite possibly, Lyudmila Gurchenko adopted another interesting feature - her love for buttons (from the annotation to the exhibition):

“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.”

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.

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:

“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."

From the book of Lyudmila Gurchenko "Applause":

"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":

“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. Girls sewed dresses for themselves, exactly like in my film, lost weight, tightened their waists, let go of bangs on their foreheads, twisted their hair with rings. Sometimes I froze like a setter in standing: I myself was walking towards me!

Not Dior became a role model for all Soviet women, but her own, homegrown film star, who shone 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 the skills that she masterfully and masterfully owned - sewing outfits herself or making “wonderful” changes to ready-made dresses and suits.

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":

"... 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 ".

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.

EXHIBITS OF THE COLLECTION OF LYUDMILA GURCHENKO

From the annotation to the exhibition "Another Gurchenko":

“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.

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:

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":

"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."

The dress from Christian Dior at this exhibition was the first dress that demonstrated how boldly Lyudmila Gurchenko brought the needle and made changes to authoritative creations:

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":

“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."

So this dress, which looked like overseas on Lyudmila Markovna, was sewn by her from two knitted children's dresses:

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":

"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.

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.

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):

"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!

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.

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 photo is there 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:

"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."

From the book of Lyudmila Gurchenko "Applause":

“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 system of thoughts - one. If I am dressed in a strict business suit - others. 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."

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.

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 thought 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":

“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 whims of the life of the ocean - that is, films in general. This feeling appears when you play big roles. You play "without leaving the frame. When you feel step by step that the role - this is the movement of the film. And now I suffer from this feeling. "

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.

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 piece. 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 string - 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:

"Varvara Nikolaevna Asenkova (1817-1841), actress of the Alexandrinsky Theater. One of the favorite actresses of 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.

Her, for sure, the thinnest fingers completed this wonderful embroidery, located in the center of the wooden tabletop:

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 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. Palma. Since 1897 she began solo concert activity. Vyaltseva's concerts have always been a resounding success, and gramophone records with her recordings came out in huge circulations.

Anastasia Vyaltseva left us a napkin embroidered with a floral pattern no later than 1913:

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:

"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.

This is a woven shoe made by the hands of a ballerina:

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:

"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.

She left us an amazing idea and a thing - a tablecloth autographed by cultural figures of her time:

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.

From the book of Lyudmila Gurchenko "Applause":

"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":

“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."

And on this note, we move on to the last costume of Lyudmila Gurchenko at this exhibition:

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":

"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.

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, head and fantasy, fantasy, what's the point?!"

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 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!

Master class by Vlad Lisovets "Fashion trends of the season" autumn-winter 2016-2017 ". Just very successfully, modern fashion refers us to retro looks of the 80-90s of the 20th century, and some of Lyudmila Gurchenko's findings may be useful to those who want to try on an image similar to her in modern conditions.

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, thought 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 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.

“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