Editing Varvara Stepanova (section)

=== Clothing designs ===
Stepanova, thus, identified clothing as occupying two groups: ''prozodezhda'' and ''sportodezhda''. Within these categories, she attended to logical, efficient production and construction of the garments.<ref name="Adaskina 1987 149">{{cite journal|last=Adaskina|first=Natalia|title=Constructivist Fabrics and Dress Design|journal=The Journal of Propaganda Arts|year=1987|volume=5|page=149}}</ref> However, war-induced poverty placed economic restrictions on the Russian Constructivists’ industrial fervor, and their direct engagement with production was never fully realized. Thus, most of her designs were not mass-produced and circulated.<ref name="Lodder 145">{{cite book|last=Lodder|first=Christina|title=Russian constructivism|year=1985|publisher=Yale University Press|location=New Haven [Conn.]|isbn=0300034067|page=[https://archive.org/details/russianconstruct0000lodd/page/145 145]|edition=4. print.|url=https://archive.org/details/russianconstruct0000lodd/page/145}}</ref>

[[File:History of Russian Design 03.jpg|thumb|"Prozodezhda" designed by Stepanova in 1920s]]

The first, ''prozodezhda'', or production/working clothing in basic styles, included theater costumes as well as professional and industrial garments.<ref>{{cite book|last=Lodder|first=Christina|title=Russian constructivism|year=1985|publisher=Yale University Press|location=New Haven [Conn.]|isbn=0300034067|edition=4. print.|url-access=registration|url=https://archive.org/details/russianconstruct0000lodd}}</ref> In the early 1920s, Stepanova entered the clothing industry through her costume designs in theater, in which she translated her artistic affinity for geometric shapes into functional, emblematic clothing. Made of dark blue and grey material, the graphic costumes allowed actors to maximize the appearance of their movements, exaggerating them for the stage and transforming the body into a dynamic composition of geometric shapes and lines.<ref name="Lavrentiev 1988 79">{{cite book|last=Lavrentiev|first=Alexander|title=Varvara Stepanova, the complete work|year=1988|publisher=MIT Press|location=Cambridge, Massachusetts|isbn=0262620820|page=79|edition=1st MIT Press|editor=John E. Bowlt}}</ref>

Within this category, Stepanova began designing ''spetsodezhda'', or clothing specialized for a specific occupation.<ref name="Adaskina 1987 149"/> In doing so, she designed clothing for men and women in both industrial and professional capacities with meticulous consideration of seaming, pockets, and buttons to ensure each aspect of the costume maintained a functional intention. Regardless of the occupational context, her working clothing carried a distinctive geometric and linear edge, rendering the body into a graphic composition and boxy, androgynous form.<ref name="Lavrentiev 1988 79"/>

The second category, ''sportodezhda'', or sports costumes, also presented bold lines, large forms, and contrasting colors to enable and emphasize the body's movements and allow spectators to easily distinguish one team from the other. Stepanova even rendered the team's emblem into a graphic design.<ref name="Lavrentiev 1988 79"/> The sports arena offered a context for Stepanova to realize an idealized bodily neutralization, and her uniforms were often unisex with pants and a belted tunic that obscured the human form.<ref>{{cite book|last=Kiaer|first=Christina|title=Imagine no possessions : the socialist objects of Russian constructivism|year=2008|publisher=MIT|location=Cambridge, Massachusetts|isbn=978-0262612210|page=114}}</ref>