Now you may think that fashion and the Soviet Union go together like Groucho Marks and Friedrich Engels. However that is to misunderstand the nature of the Commad Economy: if she commands it, you'd better buy it for her.
So there is a rich history of fashion and fun (along with the tractor factories and endless ballet performances) in the old USSR. Let's take a sashay along it...
At the start of the Soviet years women's fashion, let's face it, tended towards the functional. Red was popular, as were headscarves, sensible boots and the ability to field strip a 3-line rifle.
But all that was about to change...
...because Russia had a new fashionista in charge: Stalin! He hated the peasant look of War Communism because it made socialism seem synonymous with poverty. He ordered Soviet Woman to spruce herself up.
And what Stalin wants, Stalin gets. Sort of. Certainly the apparatchiks of the 1930s were given a taste of graceful modernism: tailored jackets in fetching colours etc....
...but for the lumpenproletariat it was still all headscarves and hobnail boots. Uncle Jo's five year plan of fashion was strictly for the aristocracy of labour.
Khrushchev was having none of it. The socialist republic would hold it's head high, and compete on equal terms with the Western divisions of Dior and Chanel. A floaty skirt, a cigarette pant and a working refrigerator would be the inalienable right of every Soviet woman.
But there would be rules: chasing fashion trends was out, timeless classics were in. A well cut dress should last a lifetime, and would probably have to.
So what was the 'Soviet Look'? Well it wasn't headscarves: they were relics of the bad old years, suitable only for children and babushkas. You could wear a headband at a pinch, but only if you had the cheekbones to carry it off.
No, what Soviet Woman really wanted was a beret! French style or Basque style, it didn't matter. What mattered was paring it with a well cut blazer and a knee length skirt.
A good coat was obligatory in the USSR: in patriotic colours or simple herringbone, belted and buttoned to the neck. Hoods were good, but collars were never popped.
The ladies of Leningrad would also need a rollneck sweater or two. It was the quintessential knitwear statement of the modern Soviet woman.
And speaking of knitwear... big funky knits became a Warsaw Pact classic in the 1980s: the brighter the yarn the more fashion forward the wearer.
The Russian cut was generous. Lots of material demonstrated the plentitude that collective planning bestowed upon the people. Plus it can get windy round the Urals so plenty of heavy wool was a godsend.
As the years rolled by, as detente came and went, the practical nature of Soviet womenswear adopted to the times...
...and by the end of the Cold War Soviet fashion had fully collided with its Western counterparts. In its own way.
So here's to the fabulous fashionable ladies of the late CCCP. Whatever the weather - and it was mostly cold - they would strut their collective stuff as boldly as they could!
Today in pulp: how do you write a novel in two weeks?
Pulp writing that has to work within specific constraints, which in turn shape the nature of the story. And speed is the biggest constraint of all: you have to write quickly!
But there are ways to make it work for you...
Today a prolific author may write a book every year, but in the 1950s and '60s pulp writer sometimes had as little as two weeks to complete a 50,000 word story and have it ready for print.
That’s 25 novels a year: but at least they got Christmas off!
Writing that quickly is hard, but surprisingly liberating. Pulp writers had to go with their first ideas and had to make them work. There wasn’t time to ‘kill your darlings’ - instead you had to toughen them up and send them into battle!
Today in pulp I'm taking a look back at the Regency Romance series from Signet Books!
Signet's Regency Romance series started in the late 1970s and ran until 2006. Like its rivals Harlequin and Mills & Boone, Signet Regency Romance published a number of titles each month, often to the same formula...
Most (but not all) Signet Regency Romance covers were by Allan Kass, and I can heartily recommend Rhonda Whiting's wonderful blog about this artist, featuring hundreds of scans of his work allankass.blogspot.co.uk
What are the pulp archetypes? Pulp novels are usually written quickly and rely on a formula, but do they use different archetypal characters to other fiction?
Let's take a look at a few...
The Outlaw is a classic pulp archetype: from Dick Turpin onwards lawbreakers have been a staple of the genre. Crime never pays, but it's exciting and trangressive!
Some pulp outlaws however are principled...
As Bob Dylan sang "to live outside the law you must be honest." Michel Gourdon's 1915 hero Dr Christopher Syn is a good example. A clergyman turned pirate and smuggler, he starts as a revenger but becomes the moral magistrate of the smuggling gangs of Romney Marsh.
Given the current heatwave, I feel obliged to ask my favourite question: is it time to bring back the leisure suit?
Let's find out...
Now we all know what a man's lounge suit is, but if we're honest it can be a bit... stuffy. Formal. Businesslike. Not what you'd wear 'in da club' as the young folks say.
So for many years tailors have been experimenting with less formal, but still upmarket gents attire. The sort of garb you could wear for both a high level business meeting AND for listening to the Moody Blues in an espresso bar. Something versatile.