Leotards for rhythmic gymnastics Dmitrienko. Trained on Kabaeva

Marina Gogua! Costume master and pride of rhythmic gymnastics (N.Novgorod)!

“I make fashion in gymnastics”
19.02.2009 10:35
The performance of the gymnasts at the Olympics in Beijing was extremely dramatic: the heat of passion was such that the athletes cried, not embarrassed by the cameras. As a result, the gold medal in the individual competition was taken by the new “star” of the Russian team, Evgenia Kanaeva, in the team competition, gold medals were also given to Russian “artists”, among whom were two Nizhny Novgorod women - Elena Posevina and Daria Shkurikhina. But Nizhny Novgorod's contribution to the victory was not limited to this: the fact is that the entire Russian rhythmic gymnastics team performed at the 2008 Olympics in costumes designed and sewn by the Nizhny Novgorod fashion designer Marina Gogua. About how the designer from the province began to dictate fashion to the elite of world sports, as well as about the athletes of which other countries of the world wear “costumes from Marina”, the fashion designer told the correspondent of RIA “Vremya N”.

Marina, is it true that it is you who dress the stars of rhythmic gymnastics?
- Truth. For some reason, everyone thinks that the costumes for our gymnasts are sewn by Yudashkin or Chapurin, and I am offended to hear this. I alone have been fully dressing the Russian rhythmic gymnastics team for more than a year now. I worked with Alina Kabaeva for several years - at a time when she was the leader of our team. Now I am sewing costumes for our new "star" - Zhenya Kabaeva, as well as for other gymnasts of the Russian national team. Last weekend I again went to Moscow - I met with gymnasts and their head coach Irina Viner. It is she who decides who should wear what and where. Irina Aleksandrovna never leaves anything to chance and very carefully monitors not only how her wards train, but also what they wear on the mat. In order for me to imagine what the new costume should be like, Irina Viner gives me the music to which the girls will perform, and the gymnasts show me the number itself. Then I make sketches, and the head coach of the national team approves them. And then I start sewing.
- As far as I know, you create costumes not only for Russian gymnasts, but also for "artists" from other countries of the world. This is true?
- Yes, that's right. My "highest" hour was the 2008 Olympics, when I sewed costumes for the rhythmic gymnastics teams of four countries of the world - Italy, Spain, Belarus and, of course, Russia. On the podium in Beijing, champion girls representing different countries stood in my outfits. And this is my biggest pride. Now I travel a lot in Europe: I regularly visit Milan, Madrid, Minsk, where girls gymnasts train, and spend even more time in Moscow on the basis of the Russian team.
- Girls from national teams of other countries of the world are interested in what their rivals will perform in?
- Of course, they ask. I tell the Russians. In general, when I sew costumes for different teams that will participate in the same competitions and go to the same carpet, I try to control the color scheme - so that there are no identical color combinations, so that the costumes are in no way similar to each other. on a friend.
- Marina, how did you become a leading fashion designer in the world of rhythmic gymnastics?
- Actually, by accident. I came to Nizhny Novgorod from Sukhumi in the early nineties, fleeing the war. Then I had no money, no registration - only a folder with sketches of outfits. I drew them just like that, in my free time. By profession I am a restorer of historical monuments. But over time, I realized that restoring what others have done is not mine. I like to create something new myself. In Nizhny Novgorod, I started looking for a job and, following an ad, I came to a salon for tailoring ballroom dances. And so my career as a fashion designer began. At first I sewed for ballrooms, then I met Nizhny Novgorod gymnasts, and began to sew costumes for them. A little later, fate brought me to Alina Kabaeva. We still maintain friendly relations with her, although we see each other much less often than before. But I hope that she will invite me to her program "Steps to Success" on REN-TV. Honestly, it's a shame that all of Europe wants to work with me, but for some reason they don't know me at all in Russia and Nizhny Novgorod ... But I have no time to deal with my own popularity. It is enough that I am known in the world where I work: all gymnasts know that the most fashionable costumes are made in Nizhny Novgorod. I don't do PR campaigns.
- Who else do you work with?
- With skaters. Now I am sewing suits for the Russian junior team. It is more interesting for me to work with figure skaters as a fashion designer - there is more room for imagination and fewer restrictions. Rhythmic gymnastics has its own canons: the skirt must be of a certain length, no voluminous applications are allowed. In figure skating, a more interesting cut, you can make various inserts, shuttlecocks. And in gymnastics, a costume is a canvas with which to display all the dramaturgy. And this task is difficult, but incredibly interesting. And I love doing it. I will not be modest - in recent years I have been making the fashion in gymnastics. I changed a lot in the gymnasts' outfits, making them elegant, removing excess variegation, and starting to use drapery.
- What will Evgenia Kanaeva wear at the European Championship?
- I sew several costumes for her. One will be white, the second will be blue and pink, the third will be scarlet. I'm still thinking about the fourth suit.
- Do you sew for ballroom dancing now?
- I have so much work with athletes that there is practically no time left for ball dancers. But old clients come to me, who, over the years that I have been designing outfits for them, have already become my friends. I cannot refuse them. But my main job now is to dress gymnastics stars.
- Gymnasts do not ask you to sew outfits not for the carpet, but for life?
- From Moscow yet, but Nizhny Novgorod gymnasts - regularly. First there were swimsuits, then prom dresses, then it was time for girls to get married - they ask for wedding dresses and evening dresses. Children grow up, orders change.
- For several years you have been sewing costumes in a rented apartment. Do you now have your own studio?
- I now have my own cozy workshop. I called her "Kochareli" - this means that I came from Kochari. I left the place where I was born a long time ago, but I miss it very much.
- Who do you root for during the competition?
- Of course, for the Russians. I actually feel for everyone who wears my costumes. After all, I put a part of myself into them, which means that my mite will also be in success or failure. But at the Olympics, I rooted for our Russian girls with all my heart.

Corr. Elena Zharkova

Video report with M.Gogua http://nnovgorod.rfn.ru/video.html?type=r&id=12567

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Four teams in rhythmic gymnastics competed at the last Olympics in costumes designed and tailored in a small workshop in Nizhny Novgorod. This is where fashion designer Marina Gogua works. At previous Olympics, World Championships, Alina Kabaeva, Irina Chashchina, Laysan Utyasheva and other world rhythmic gymnastics stars performed in her costumes.

Marina was born in Abkhazia, on the advice of her parents, she studied to be a restorer of historical monuments, but life changed dramatically when she fled the war, moved to Nizhny Novgorod and came into contact with the world of rhythmic gymnastics. In a conversation with a TASS correspondent, the fashion designer spoke about how the brightest costumes of our famous gymnasts were invented, how she jokingly saved Alina Kabaeva from the evil eye, and why many athletes consider her costumes a talisman.

Fled from the war, and another life began

In the 90s, there was a war in Sukhumi, and my family and I had to leave our home, leave the country, become refugees. I already had a small child. It seemed that normal life had come to an end. We didn't even know where to run. Only after a while we realized that we had experienced a terrible thing, but most importantly, we all survived.

It so happened that we ended up in Nizhny Novgorod - my brother studied here. This city sheltered me, pressed me to my chest when I was very ill. Here I found the support of many kind people, here I began a completely different life.

Once I saw an ad that said they were looking for creative people, and I didn’t really know the city yet, with a sinking heart, I followed this ad. It was a workshop where they sewed costumes for ballroom dancing, for circus performers and figure skaters. They liked my work very much, they took me. This is where I found myself, and it was great. In the workshop, I met Tatyana Sergaeva, the coach of Nizhny Novgorod gymnasts.

Once I saw an ad that said they were looking for creative people, and I didn’t really know the city yet, with a sinking heart, I followed this ad.

This is an extraordinary person, thanks to whom all the good things that I do and what I have achieved have happened in my life. She believed in me. This is not just a brilliant coach, but also a huge artist. Many costume design ideas came from her. We worked with her a lot. The first gymnast that Tatyana and I dressed was Victoria Anikina, now an international class judge. This is also an unusual, sincere person. How could I not justify their trust? I worked day and night, mastering the intricacies of sewing a gymnastic suit. And I felt that it was mine.

"Forget everything you see" and make a new one

Gymnasts then had a peculiar fashion, more with an emphasis on national costumes, no avant-garde. As a rule, everything was openwork in front, a lot of appliqués, sequin embroidery, and no pattern in the back. Then Tatyana Sergaeva said to me: "Forget everything that you see, let's do something that no one else has." We then came up with a costume for Alena Posevina, a two-time Olympic champion. She was then an aspiring star, a very beautiful girl.

And I suggested making a costume where everything is the opposite: everything is modest in front, only some small element on the neck, and something incredible is happening on the back. For everyone, including the audience, it was a shock - this was not the case then.

After that, Tatiana tells me: "Marina, we have taken one step, but we must move forward, people are already waiting for something new from us." And so she set me up every time to create something new, unusual.

Our work was noticed, and Irina Alexandrovna Viner ( head coach of the Russian rhythmic gymnastics team. - Approx. TASS), who was always looking for something new, invited me to Moscow. Just then, Alina Kabaeva was preparing for the World Championships in Germany, and I suggested that Irina Viner sew Swarovski crystals on the suit instead of sequins. They were already used in ballroom dancing, in gymnastics it was believed that the stones were heavy and would interfere. But she agreed to try. We tried Swarovski stones for the first time on Alina. Irina Alexandrovna really liked this idea, and we are still working on it. Now it has become the norm that gymnasts go out in costumes and carry 1.5–2 kg of rhinestones.

Our work was noticed, and Irina Viner invited me to Moscow. Just then, Alina Kabaeva was preparing for the World Championships in Germany, and I suggested that Wiener sew Swarovski crystals on the suit instead of sequins. They were already used in ballroom dancing, in gymnastics it was believed that the stones were heavy and would interfere

Fashion in gymnastics developed, it became diverse, multilayered. We started to make various draperies in suits, skirts with uneven edges, in several layers, experimented with necklines, voluminous applications. Once they even came up with the idea of ​​dressing the gymnasts in an evening dress - it was an elegant fuchsia-colored evening dress with large roses, only short and sleeveless. And it was like nothing. Everyone discussed how it is permissible in gymnastics. But then in rhythmic gymnastics they began to make sleeveless leotards. And this evening dress is still in the wardrobe of our girls.

In the future, I think gymnastic fashion will tend towards elegant minimalism.

How Alina Kabaeva was "protected" from the evil eye

Many, including our athletes, sincerely believe that my swimsuits bring good luck. And it all started with the Olympics in Athens, where Alina Kabaeva was supposed to perform.

Before that, she performed unsuccessfully at the Olympics, and I jokingly say to her: "Alina, let's make you a big eye in a swimsuit, and no one will jinx you." She laughed and said, "Come on." Music just allowed it.

I asked the coach if there was any ban on such symbols - nothing was said about this in the canons. And jokingly, we made this costume with an eye in the pattern of the swimsuit.

After that it started. There were rumors that Marina had an amulet, and if she sewed a costume, she would draw an eye that would protect her from the evil eye and all sorts of failures. Everyone came and asked to draw this eye at least somewhere, and they still ask.

"A gymnast must be sure that she is beautiful"

I was lucky to work with a whole galaxy of rhythmic gymnastics stars. We dressed Irina Chashchina, Olga Kapranova, Laysan Utyasheva, Daria Kondakova, Daria Dmitrieva, Zhenya Kanaeva. The girls are all completely different in character, each had their own style. But none of them were capricious. They are so easy to communicate, friendly and completely trusted me.

Everything is important for victory: appearance, artistry, and costume as a kind of psychological incentive. When a gymnast goes out to perform, she must be sure that she is beautiful. This confidence gives strength, which helps to overcome many barriers.

What they have achieved in life is all through incredible work, and when a person achieves something with such work, he is not capricious. Sometimes they have not even seen a new swimsuit yet and put it on literally before going out on the carpet. And they were always happy and grateful. And I tried to please them, strained my brains, invented, spent a lot of time at work, forgot about my family, because I saw how hard they were given victories. Everything is important there: appearance, artistry, and costume as a kind of psychological incentive. When a gymnast goes out to perform, she must be sure that she is beautiful. This confidence gives strength, which helps to overcome many barriers.

"I suggested adding a clock to space"

When a costume for the Olympics is created, it is a great stress and a huge responsibility. Irina Alexandrovna is a very demanding person. She brought together all the artists in Russia. Preparing for the Rio Olympics, she wanted not just a beautiful costume, but something supernatural. She and I suffered for half a year, developing an image for our "artists" in group performances.

At one point she says, "Let's make flowers with space." I have never seen this before. At first it seemed strange to me, but then I thought it was interesting - such an unexpected combination. She also suggested adding a clock to this plot. We developed this idea with stars, planets and flowers until the last moment. Swimwear was sewn by a master from Moscow, and Irina Viner told me to make overalls in the same space theme. But they did not have time to "run in" at the competitions and it was risky to go to the Olympics. Gymnasts are very superstitious. Therefore, they performed in swimsuits that had already been tested. The most important thing, I think, is the end result - they won!

Gymnasts from Georgia (Salome Pazhava), from the USA (Laura Zeng), national teams of Japan and Spain, with whom our coaches work, performed in my costumes at the Olympics.

For Japanese gymnasts, I first came up with a costume with a Japanese plot: with a sunrise on a blue background, with lines stylized as hieroglyphs, and a sakura branch. But before the Olympics, they changed the music, it became more energetic, with Brazilian motives, and these costumes no longer fit. They came out in lemon-colored swimsuits. It was already known that the third performance would be to the music of Natalia Oreira, and I came up with funny costumes for this number with frills and big hearts. They have a very lively and interesting program. And they, led by coach Inna Bystrova, were very grateful.

Costume as a mascot

In our workshop, swimwear is ordered for athletes from various countries. Foreign athletes buy our costumes with a bang, they are very much appreciated, they especially like to wear swimsuits in which our stars performed.

I can say that many gymnasts who no longer perform and have sold a leotard call me and ask me to sew something in return. They say that when my suit disappeared from the wardrobe, troubles began to occur. They believe that I have some kind of energy that is transferred to the suit, and from this they will be fine.

Many gymnasts who no longer perform and have sold a leotard call me and ask me to sew something in return. They say that when my suit disappeared from the wardrobe, troubles began to occur. They believe that I have some kind of energy that is transferred to the suit, and from this they will be fine.

Often I am asked to sew a wedding dress, like Zhenya Kanaeva when she got married. Although this is completely different than a gymnastic outfit. She could find any dress she wanted in Europe, but she came to me. And we sewed her a dress for the wedding, everything turned out as planned, - Irina Viner really liked it.

In fact, I think the recipe for a successful costume is that I always have a good mood in my workshop. Where I work, there should be only good energy. There are five of us, and I do my best not to offend my assistants. I know that my girls love me, respect me, and I love them very much. Otherwise, they would not have worked with me for 10-20 years. We do our work with a good mood - it means a lot.

Interviewed Natalya Chistyakova