This thesis aims to highlight the smock-dress within the context of Soviet-Estonia during the post-war epoch, ca. 1950s until 1990s. Through Mauss’s socio-anthropological tripoint view, the concepts and identities of the smock-dress are studied from the angles of biology, sociology and psychology. The intention is to show its widespread use amongst Soviet- Estonian women and their remembrance of it, in accordance with the Soviet ideological structures. Using semi-structured interviews, I have assembled oral history from women who attain this historical retrospective, aiming to depict the smock-dress as both a concept and an object, thus functioning as an emblem of Soviet society rather than a historical artefact. Relying on the terms nostalgia, socio-cultural belonging and phenomenology, I seek to capture the smock-dress as both a vestiary phenomenon and representation of social structures. Thus, creating a dual identity, individual and collective, through its usage, showing that sartorial fashion encompasses more than just emotions and promoted stylistics.

This thesis aims to highlight the smock-dress within the context of Soviet-Estonia during the post-war epoch, ca. 1950s until 1990s. Through Mauss’s socio-anthropological tripoint view, the concepts and identities of the smock-dress are studied from the angles of biology, sociology and psychology. The intention is to show its widespread use amongst Soviet- Estonian women and their remembrance of it, in accordance with the Soviet ideological structures. Using semi-structured interviews, I have assembled oral history from women who attain this historical retrospective, aiming to depict the smock-dress as both a concept and an object, thus functioning as an emblem of Soviet society rather than a historical artefact. Relying on the terms nostalgia, socio-cultural belonging and phenomenology, I seek to capture the smock-dress as both a vestiary phenomenon and representation of social structures. Thus, creating a dual identity, individual and collective, through its usage, showing that sartorial fashion encompasses more than just emotions and promoted stylistics.