Our interview with Ruslan Migranov, an eccentric fashion historian who uncovers the stories behind style and fashion, tracing how clothing and trends have shaped past and present eras.
The Fashiongton Post: Ruslan, what made you get involved into such an unusual profession as a fashion historian. Was it an interest to fashion yet from the childhood or you felt it when already grown up?
R.M.: I didn’t have an interest in fashion since childhood, but I always loved the history of different countries, monarchies, and fascinating life stories. Initially, I went to study law, but I quickly realized that I found it boring. At the age of 20, I became seriously ill and made a vow that if I recovered, I would cherish every day and choose a profession that would bring me joy—as if job were a hobby! I analyzed my situation and realized that I wanted to tell stories about fashion, to become a fashion historian, so I began educating myself. At that time, the internet wasn’t as rich in information, so I had to read a lot and spend all my earnings on travel. Since childhood, people told me I had charisma, which is crucial in my profession, as most of my audience consists of women. Later, I went to study in Shanghai, where I learned that the key to a great presentation is never to sit but to walk around and, in addition to using your voice, incorporate hand movements—since some people perceive information through voice, while others through gestures.
F.P.: If the fashion world would stop producing new clothes today, which historical period’s wardrobe could sustain us the longest in terms of style and functionality?
R.M.: Definitely, it’s the 1980s! A rich decade when oversized shoulder pads were in fashion, and building a career was the trend. The world was captivated by TV shows like “Dynasty” and “Santa Barbara”. This was also the period when brand mania began. Echoes of this era are still visible on the runway these days, reflected in the recent trend for broad shoulders. At the same time, the ’80s embraced a wide range of styles, from punk and sportswear to classic elegance.
F.P.: If we could time-travel, what era would be most shocked by today’s fashion—and which era would understand it best?
R.M.: If we sent a man and a woman dressed in modern clothing to the 15th–18th century, people of that era would see us as practically naked—especially when in summer attire. To them, we would be considered such as wearing nothing more than underwear! We could easily be thrown in jail for indecency. Getting dressed back then could take women around 40 minutes due to the many layers of clothing, which also served as a status symbol. However, to be fair, a modern person would also be shocked by many garments from that time. The people who would find our modern clothing the most acceptable would be those from the early 20th century, specifically the 1920s—just 100 years ago. Interestingly, men’s suits have hardly changed over the past century.
F.P.: What’s the most misunderstood garment in history?
R.M.: It’s a vest! Unlike a blazer, a vest isn’t a staple in every wardrobe. Of course, it occasionally comes into fashion and appears in glossy magazines, but it never quite becomes a mainstream trend. And that’s a shame because a vest is a great way to showcase individuality!
F.P.: Do you believe we’ve reached the peak of fabric innovation, or will future textiles make today’s materials look primitive?
R.M.: What seems modern and ultra-cool in fashion today will be laughed at in 100 years—and that’s always been the case! I believe that when humanity colonizes Mars, something entirely new will emerge in the world of clothing.
F.P.: If we could bring a designer from the past into the modern world, who would adapt best to contemporary fashion?
R.M.: A chameleon-like figure who effortlessly blended into any era and truly understood it—without a doubt, that was Karl Lagerfeld. If we were to take the young Karl from the 1960s and teleport him to our time, he would adapt instantly. He proved this throughout his life, realizing long before others that the future belonged to prêt-à-porter. Karl always aligned himself with the spirit of each new generation.
F.P.: If you could steal one outfit from a museum and wear it for a day, which would it be?
R.M.: I’ve worked at a fashion museum myself and have great reverence for museum pieces. But if I ever had the chance to steal something, it would be a regular tie—because, in my opinion, it’s one of the few clothing items that can be worn without causing damage to it (considering it’s a rare museum piece). However, I’d make a terrible thief—far too responsible!
F.P.: What’s the one fashion-related historical myth you’re tired of hearing?
R.M.: The idea that Coco Chanel invented the little black dress—and that everyone believes it—seems to me like one of the biggest myths in fashion history! She created one version of the little black dress that sold well, and she openly embraced being copied. However, many other fashion houses were also designing and selling little black dresses at the time. They simply didn’t survive the Great Depression of the 1930s or World War II, while Chanel’s house did.
F.P.: If you were curating a time capsule for future fashion historians, which five modern garments would you include?
R.M.: My capsule wardrobe would consist of jeans, a blouse, a blazer, a little black dress, and a pair of Manolo Blahnik pumps.
F.P.: What’s a question about fashion history you wish people would ask you more often?
R.M.: What does fashion depend on, is modern fashion evolving, and where is it headed?
F.P.: During the Cold War, fashion in Russia and the United States was as much a battleground as politics. Do you think the situation remains the same today?
R.M.: To my belief, it does not. Back then, it was a different time, different people, and there was the Iron Curtain. Now, we have globalization, and there are many sources of temptation offering us something from all sides. Modern fashion is a mass market. We can shape our own style, and many young people aren’t interested in politics; they’re more interested in video games. Back in the 1950s–1960s, the focus was on lines and silhouettes. It was a completely different era.
F.P.: If you had to name three Russian and three foreign fashion designers—past or present—whom you truly admire, who would they be and why?
R.M.: John Galliano is a genius tailor. What he did for “Dior” in his time is already in museums. He’s a brilliant runway shows’ maker, with each of those he organized being like mini-movies. Yves Saint Laurent was the designer who created the modern women’s wardrobe and that unique cut of women’s trousers, for which he truly deserves a monument. And, of course, the “master of all masters,” the genius Balenciaga—he always made women a mystery that one wanted to solve. Among Russian couturiers, the exceptionally talented was Nadezhda Lamanova who used to create dresses for the empress and nobles, and influenced the famous French designer Paul Poiret. Among Russian designers, we can also highlight Vyacheslav Zaitsev, who managed to create masterpieces under conditions of severe scarcity, as well as Valentin Yudashkin, who presented a couture collection in Paris dedicated to Fabergé eggs.
F.P.: Traditionally, your piece of advice to The Fashiongton Post readers?
R.M.: There are three things crucial for one’s happiness: love, interesting job (or a hobby), and the opportunity to travel. Let everyone find these three things!
Official site of Ruslan Migranov: www.ruslanmigranov.ru
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