What is kitsch?

After detailed comments on the results of the content analysis, we will try to construct (on their own basis) our own definition of kitsch as a phenomenon that is extremely relevant in modern culture. “Classical” kitsch (in Western European and American understanding as a derivative of popular culture) is the result of communication between an authentic work of art, fresh, highly valued by “elite” culture, and a consumer - a representative of “mass” culture. This communication occurs in a developed art market through an intermediary: a kitsch producer or the media as a replication authority. Before the emergence of the modern version of the media, the role of the latter could be performed, for example, by an artist-copyist or a craftsman, a manufacturer of “consumer goods.”

The above concerns the subject area of ​​kitsch, but there is also literary, musical, television, cinematic11 and other kitsch. Taking advantage of the ancient system of dividing the arts according to the principle of temporal or spatial localization into “musical” and “plastic”, we will distinguish two subgroups of kitsch: let’s call them “entertainment kitsch” and “design kitsch”. The first occupies an entertainment-compensatory niche, which partly coincides with the functions of art in the sphere of “high” culture. This applies to short-term works that require attention and “living” from the consumer, interest in the plot and leisure. The second is associated, as the name of the subgroup suggests, with static works - paintings, sculptures, souvenirs, jewelry, items of clothing and design, etc. Both types of kitsch have the same characteristics; the difference can only be in their accentuation: for example, entertainment kitsch is more characterized by plot, while design kitsch is characterized by long-term existence in a certain environment and associated iconicity.

Let's take a closer look at the semantic aspect of kitsch. Its main difference from art is that kitsch, while not being aesthetically valuable in the elite sense, replaces beauty with its sign. Finding itself in a certain context - in a house, if it is a design item, in an ensemble of clothes, if it is decoration, etc. - kitsch becomes a sign of beauty. Thanks to its deliberateness12 and vivid plan of expression, it easily performs the function of a sign if there is a need to prove social, intellectual, aesthetic or even gender usefulness.

It is noteworthy that kitsch in general, as a rule, exists in context: without it, a reproduction of a famous painting can be considered, for example, an achievement of modern copying technology or as a version of didactic material for schoolchildren and students. In such a situation, makeup disintegrates into meaningless colors, and the paper icon serves as a real sacred object for people who are true believers but are unable to acquire a valuable thing.

The combination of a bright expression plan and low market value makes kitsch popular and widespread. But in some borderline social situations, on the contrary, the inflated cost of the work and “exclusivity” are preferred, which makes the purchase a sign of financial prosperity. For example, in the situation of the nouveau riche, who by upbringing and education do not have access to high culture, but have great resources and are forced to assert themselves in other ways. Strictly speaking, luxury as a social sign has existed as long as culture has existed - “any act of ostentatious, effect-driven consumption is a demonstration of power. Any squandering is unthinkable without an audience to impress.” But if in traditional cultures this was given ritual significance (the Indian ritual of the potlatch), then in the modern situation of social change it is supplemented by a real need to mark personal and social boundaries.

Another example of the birth of kitsch in the border zone is the junction of subcultures, urban and rural. Then the external attributes of another are superimposed on the traditions and habits of one group and a discrepancy between the plane of expression and the plane of content arises, and as a result - “half-breed” kitsch, created in accordance with the aesthetic ideas of some, but the forms of others, alien, in essence, to those and others. Hence - all these six-month “chemicals” that were fashionable at one time, the source of which was the Western fashion for a la afro hairstyles, bright and inappropriate rural cosmetics for a city dweller, etc. The last example is well suited to describe the semantic function of kitsch: clumsily, from the point of view of a professional make-up artist, a made-up visitor to a country club (which among elite critics has become a favorite metaphor for provincial kitsch) in this way designates female beauty, as if saying to those present: now I am a beauty, because I live leisure. It is clear that in a work situation such an environment is not only inappropriate, but also dangerous. An illustration can be a scene from the film “Hello and Farewell,” in which the heroine comes to a city store and demands lipstick “with which to paint your lips.” Having painted her lips with purchased lipstick in broad daylight, she finds herself in a delicate situation and is forced to frantically erase traces of the crime. A similar plot can be found in the earlier film “A Simple Story”, where the heroine N. Mordyukova tries to hide makeup applied at the wrong time.

The examples can be continued: in the modern province we often come across interesting variants of word usage. Thus, for example, “hall” (in the feminine gender, which indicates its French origin from the time of social salons) means a living room, and the word “eat”, also used in gallant society of the 19th century, is used in everyday speech instead of the word “eat”. An example from another area is the use of the phrase “haute couture”, which from a direct translation from French haut couture (high fashion) went on to designate a thing “haute couture”, i.e. “from fashion” (“from a fashion designer”, etc.).

As a matter of fact, the salon culture of the 19th century was actually replicated in contemporary circles, but distant from the capital’s social life, and this can be illustrated not only by scientific research13, but also by abundant examples from classical Russian literature - images of N. Gogol, A. Chekhov and other writers . All attempts to recreate fashion and manners of social communication in local circles, as a rule, turned into an occasion for irony and parody by representatives of the “high”.

Kitsch in art (sometimes also kitsch, from him. Kitsch - hack, bad taste, cheap) is a direction that is characterized by the use of images from mass culture, a focus on consumer preferences and the desire to create an external effect, without any internal content.

Historically, the term kitsch was first used in the 60s of the 19th century in Germany. This was the name given to numerous trinkets that were sold at the Munich art market and which were mainly bought by the nouveau riche, who aspired to become part of the elite of society, but did not have any knowledge of high art and the means to buy expensive paintings. Very quickly the term spread throughout Europe and began to be used not only in relation to various kinds of trinkets, but also in relation to the so-called. “salon painting”, photography (especially of an erotic nature) and everything that brought pleasure to the unassuming middle class and was therefore actively purchased by them.

Attempts to consider kitsch as a unique cultural phenomenon began already in the 20th century. Here, first of all, it is necessary to pay attention to the article by Clement Greenberg, which was written in 1939. In this article, Greenberg not only defines kitsch as “commercial art and literature aimed at the masses, with their inherent colorism, magazine covers, illustrations, advertising, reading matter, comic books, pop music, dancing to sound recordings, Hollywood films, etc.” , but also tries to find the origins of this phenomenon, explaining its popularity with urbanization and an increase in the level of literacy of the population: “The peasants who moved to big cities and became proletarians or petty bourgeoisie, in the name of increasing their own efficiency, learned to read and write, but did not find leisure and comfort, necessary to enjoy traditional urban culture. Losing, however, the taste for popular culture, the basis of which was the countryside and rural life, and at the same time faced with a new social experience - boredom, the new urban masses began to put pressure on society, demanding that they be provided with a suitable life. cultural consumption. In order to satisfy the demand of the new market, a new product was invented - ersatz culture, kitsch, intended for those who, while remaining indifferent and insensitive to the values ​​of genuine culture, still experienced spiritual hunger, yearned for the distraction that only culture could provide of a certain kind."

In relation to contemporary art, the word kitsch continues to be used rather in a negative sense. This is how they characterize works about which they want to say that the artist is simply trying to create a shocking image without any hidden idea, that the purpose of this or that work of art is to cause a scandal for the sake of scandal or to shock the public with the vulgarity and vulgarity of the form. In this case, what is most often meant is that there is nothing in kitsch except the outer shell.

It should be noted that artists whose work is classified as kitsch rarely agree with such an assessment. For example, Jeff Koons, who was dubbed the “king of kitsch,” never called himself that. However, his signature style—one-color, bright sculptures shaped like inflatable toys and empty inside—can be interpreted as an illustration on the theme of kitsch and the tastes of consumer society in general, which gives his work a certain meaningfulness that is unusual for kitsch as such. On the other hand, being one of the richest artists in the world, Koons clearly adapts to the tastes of the consumer and often shocks precisely with the banality and vulgarity of his works, and among the images that he uses there are cats, dogs, pornographic scenes and everything that is so or otherwise can be attributed to the trends of modern society.

In the UK, the term kitsch is often applied to the work of the Young British Artists group, and in particular to the work of one of their representatives, Tracey Emin, who gained widespread fame after appearing drunk on national television and was later nominated for a Turner Prize as an author. installation “My Bed” (The work represented the artist’s bed with yellow stains on the sheets, condoms, empty cigarette packs and panties with menstrual stains).

For modern society, kitsch is, first of all, extravagance. A similar element of mass culture is associated with the movements of postmodernism. They arose as a protest against generally accepted interior fashion.

Meaning of the concept

Kitsch is a phenomenon that belongs to a certain game of anti-design. The word itself is of German origin. Denoted by the words “bad taste”, “cheap”. It was made up of two verbs that meant “to do something somehow”, “to sell something other than what was ordered.”

This phenomenon is characterized by mass production and is aimed at the consciousness of an ordinary consumer who wants to stand out.

History of the style

The concept first appeared in 1860 (Germany). It was used to name artistic products produced for American consumers. They were sold at various European opening days at a low price. It is precisely because of the attractive cost that a style called kitsch has spread throughout the world.

Mass culture has become filled with objects of low artistic taste. She became the opposition to high, expensive art. Although elements of this style were often carried out by masters of their craft, they were guided by standardized taste.

Kitsch is hastily concocted works of art. An example would be souvenirs and all kinds of figurines for the average consumer. In Soviet times, such a trend was suppressed in every possible way, since it was considered bourgeois. However, its elements were carpets and crystal, the presence of which became a sign of social status.

Style Features

Kitsch is a modern style, the main idea of ​​which is a mockery of previous artistic traditions and tastes. The direction denies previous achievements in architecture and design. Bad taste and non-compliance with color standards come to the fore. All this strikes the eye with its brightness and richness of interior items that do not combine with each other. This is what kitsch is all about.

Examples of style in the interior

There are sparkling stars on the bright blue ceiling, gilded stucco along the cornice, flowerpots with palm trees are placed along the perimeter of the walls, and the floor is paved with tiles in an oriental motif. Such an interior makes a provocative impression, thereby fulfilling its primary task.

Main features:

• combination of different styles (country with classics);
• the presence of numerous incompatible accessories;
• color disharmony;
• oversaturation of consumer goods.

Types of kitsch

Depending on how kitsch manifests itself in the interior, it can be classified into one of three groups. Thus, a pseudo-luxurious style arises when you want to combine everything in one room at once. For example, a room with a fireplace combined with fluorescent lamps, velvet curtains and oriental-style vases.

Lumpen kitsch is associated with a low standard of living and the presence of a certain creativity. Its characteristic features are pieces of furniture taken from different sets, a hanging light bulb from the ceiling, carelessly painted walls, an old chest of drawers repainted in a bright color.

The work of famous designers in this direction is associated with the creation of individual exhibitions, the purpose of which is to mock mass culture and challenge their colleagues.

Who chooses kitsch?

Kitsch is a bizarre phenomenon of popular culture. It is something fashionable, momentary, spectacular, and attention-grabbing. However, one should not think that this style is close only to representatives of the average, philistine mind. It is found both in the houses of oligarchs and in student rooms.

In the first case, everything is connected with the desire to show off one’s financial capabilities, without adhering to the basic rules of interior design. In the second case, kitsch manifests itself in all sorts of colorful rugs on the walls with bright motifs, as well as placing a lot of postcards, souvenirs, hearts and other tinsel on the wall.

Kitsch is often found in the homes of creative individuals who do not like to adhere to established rules, considering it unacceptable and limiting internal freedom. For example, the previously described kitsch of the lumpen is inherent in rebels in spirit and maximalists. By disdain for harmony they express their attitude towards life.

Kitsch(German: Kitsch), kitsch is a term denoting one of the phenomena of mass culture, a synonym for pseudo-art, in which the main attention is paid to the extravagance of appearance and the loudness of its elements. It has become particularly widespread in various forms of standardized household decoration. As an element of mass culture, it is the point of maximum departure from elementary aesthetic values ​​and, at the same time, one of the most aggressive manifestations of primitivization and vulgarization tendencies in popular art.

Because the word came into use in response to the large volume of artistic work that appeared in the 19th century in which aesthetic qualities were confused with exaggerated sentimentality or melodrama, kitsch is most closely associated with art that is sentimental, cloying, or maudlin, but the word can be applied to the subject of art of any kind defective for similar reasons. Regardless of whether it is sentimental, showy, pompous or creative, kitsch is called an antics that imitate the appearance of art. It is often said that kitsch relies only on the repetition of conventions and patterns and lacks the creativity and authenticity demonstrated by true art. Kitsch is mechanical and operates according to formulas. Kitsch is a substitute experience and fake feelings. Kitsch changes according to style, but always remains equal to itself. Kitsch is the embodiment of everything unessential in modern life" Clement Greenberg, "Avant-garde and Kitsch", 1939

“Kitsch is the absolute denial of shit in the literal and figurative sense of the word; kitsch excludes from its field of vision everything that is inherently unacceptable in human existence” Milan Kundera, “The Unbearable Lightness of Being”, 1984 (translated by Nina Shulgina)

“Kitsch is a passionate form of expression on all levels, not a servant of ideas. And at the same time, it is connected with both religion and truth. In kitsch, craftsmanship is the decisive criterion of quality... Kitsch serves life itself and appeals to the individual" Odd Nerdrum, "Kitsch - a hard choice", 1998 Kitsch is a product of the industrial revolution, which urbanized the masses of Western Europe and America and created what is called universal literacy.

Until then, the only market for formal culture, distinct from popular culture, had been those who, in addition to the ability to read and write, could have at their disposal the leisure and comfort that always go hand in hand with a certain culture. And this, until a certain point in the past, was inextricably linked with literacy. But with the advent of universal literacy, the ability to read and write became a non-essential skill, something like the ability to drive a car, and ceased to serve as a feature that distinguished the cultural inclinations of the individual, since it was no longer the exclusive consequence of refined taste.

Peasants who settled in the big cities as proletarians and petty bourgeoisie learned to read and write to increase their own efficiency, but did not gain the leisure and comfort necessary to enjoy traditional urban culture. Losing, however, the taste for popular culture, the basis of which was the countryside and rural life, and, at the same time, discovering a new capacity for boredom, the new urban masses began to put pressure on society, demanding that they be provided with a unique crop suitable for consumption. In order to satisfy the demand of the new market, a new product was invented - ersatz culture, kitsch, intended for those who, while remaining indifferent and insensitive to the values ​​of genuine culture, still experienced spiritual hunger, yearned for the distraction that only culture could provide of a certain kind. Using devalued, corrupted, and academicized simulacra of authentic culture as raw materials, kitsch welcomes this insensitivity and cultivates it. She is the source of kitsch's profits. Kitsch is mechanical and operates according to formulas. Kitsch is a substitute experience and fake feelings. Kitsch changes according to style, but always remains equal to itself. Kitsch is the embodiment of everything unessential in modern life. Kitsch seems to demand nothing from its consumers except money; it does not even require time from its consumers.

A prerequisite for the existence of kitsch, a condition without which kitsch would be impossible, is the presence and accessibility of a nearby mature cultural tradition, the discoveries, acquisitions and perfect self-awareness of which kitsch uses for its own purposes. Kitsch borrows from this cultural tradition techniques, tricks, tricks, basic rules, themes, transforms all this into a certain system and discards the rest. One might say that kitsch draws its blood from this reservoir of accumulated experience. Indeed, this is precisely what is meant when they say that the mass art and mass literature of today were once in the past daring, esoteric art and literature. Of course, this is not true. This means that after a sufficiently long time, the new is plundered: new “dislocations” are pulled out of it, which are then diluted and served as kitsch. Self-evidently, kitsch is academic through and through; and, conversely, everything academic is kitsch. For what is called academic, as such, no longer has an independent existence, having turned into a starchy shirtfront for kitsch. Industrial production methods are replacing crafts.

Because kitsch can be produced mechanically, it has become an integral part of our production system in a way that genuine culture could never, except on rare occasions, be integrated into a production system. Kitsch capitalizes on huge investments that should yield commensurate returns; it is also forced to expand to support its markets. Although kitsch is, in essence, its own seller, nevertheless, a huge sales apparatus has been created for it, which puts pressure on every member of society. Traps are set even in those corners that, so to speak, are the preserves of genuine culture. Today, in a country like ours, it is not enough to have a disposition towards real culture; a man must have a true passion for real culture, which will give him the strength to resist the counterfeits that surround him and press upon him from the very moment he is old enough to look at funny pictures. Kitsch is misleading. It has many different levels, and some of these levels are high enough to be dangerous for the naive seeker of the true light. A magazine like the New Yorker, which is basically high-end kitsch for the luxury trade, transforms and dilutes a huge amount of avant-garde material for its own needs. Don't think that any piece of kitsch is completely devoid of value. Every once in a while, kitsch produces something worthy , something that has a genuine national flavor; and these random and scattered examples deceive people who should understand what is happening better.

The huge profits reaped by kitsch serve as a source of temptation for the avant-garde itself, whose representatives do not always resist this temptation. Aspiring writers and artists, under the pressure of kitsch, modify their work, or even completely submit to kitsch. And then there are puzzling borderline cases like the books of the popular novelist Simenon in France and Steinbeck in the USA. In any case, the net result is always detrimental to true culture.

Kitsch is not limited to the cities in which it was born, but spills out into the countryside, sweeping away popular culture. It does not show kitsch and respect for geographical and national-cultural boundaries. Another mass product of the Western industrial system, kitsch makes a triumphal march around the world, in one colonial empire after another, erasing the differences of indigenous cultures and depriving these cultures of adherents, so that now kitsch has become a universal culture, the first universal culture in history. Today, natives of China, like South American Indians, Indians or Polynesians, began to prefer magazine covers, calendars with girls and prints to objects of their own national art. How to explain this virulence, the contagiousness of kitsch, its irresistible appeal? Naturally, machine-made kitsch is cheaper than hand-made native products, and this is facilitated by the prestige of the West; but why is kitsch so much more profitable as an export item than Rembrandt? After all, both can be reproduced equally cheaply.

In his latest article on Soviet cinema, published in Partisan Review, Dwight MacDonald points out that over the past ten years, kitsch has become the dominant culture in Soviet Russia. MacDonald places the blame for this on the political regime, which he condemns not only for the fact that kitsch is the official culture, but also for the fact that kitsch has actually become the dominant, most popular culture. MacDonald quotes from Kurt London's book The Seven Soviet Arts: "Perhaps the attitude of the masses towards the styles of old and new art still depends essentially on the nature of the education given to them by the respective states." MacDonald continues this thought: "Why, after all, should ignorant peasants prefer Repin (the leading exponent of academic kitsch in Russian painting) rather than Picasso, whose abstract technique has at least the same connection with their own primitive folk art No, if the masses fill the Tretyakov Gallery (Moscow Museum of Contemporary Russian Art - Kitsch), it is mainly because they have been formed, programmed in such a way that they shy away from “formalism” and admire “socialist realism”.

First of all, it is not a matter of choosing between simply old and simply new, as London seems to believe, but of choosing between bad, updated old and truly new. The alternative to Picasso is not Michelangelo, but kitsch. Secondly, neither in backward Russia nor in the advanced West do the masses prefer kitsch not simply because their governments formed them that way. Where public education systems are careful to mention art, people are encouraged to respect the old masters rather than kitsch; however, people continue to hang on their walls reproductions of paintings not by Rembrandt and Michelangelo, but by Maxfield Parrish or equivalents of his work. Moreover, as MacDonald himself points out, around 1925, when the Soviet regime encouraged avant-garde cinema, the Russian masses continued to favor Hollywood films. No, "shaping" does not explain the power of kitsch.

All values, in art and in other fields, are human, relative values. And yet among the enlightened part of mankind for centuries there seems to be a general agreement as to what is good art and what is bad art. Tastes have changed, but this change has not gone beyond certain limits; modern art connoisseurs agree with the Japanese who lived in the 18th century and considered Hokusai one of the greatest artists of that time; we even agree with the ancient Egyptians that the art of the Third and Fourth Dynasties is most worthy of being chosen by posterity as a model for imitation. We may prefer Giotto to Raphael, but we still do not deny that Raphael was one of the best painters of his time. There used to be an agreement, and it is, in my opinion, based on a very permanent difference between the values ​​that can be found only in art, and the values ​​that can be found in other spheres. Through the rationalized method of science and industry, kitsch has in practice erased this distinction.

Let's see, for example, what happens when an ignorant Russian peasant like the one mentioned by MacDonald, standing in front of two canvases, one by Picasso and the other by Repin, is faced with a hypothetical freedom of choice. In the first painting, this peasant sees, say, a play of lines, colors and spaces - a play that represents a woman. If we accept MacDonald's assumption, the correctness of which I am inclined to doubt, then the abstract technique partly reminds the peasant of the icons left in the village, and the peasant feels an attraction to the familiar. We will even assume that the peasant is vaguely aware of some of the values ​​of great art that enlightened people discover in the works of Picasso. Then the peasant turns to Repin’s canvas and sees a battle scene. The artist's method is not so familiar. But for the peasant this has very little meaning, for he suddenly discovers in Repin’s canvas something that seems to him much more important than the values ​​that he is accustomed to finding in icon painting; and the very unknownness of what is discovered turns out to be one of the sources of these values ​​- living recognition, wonder and sympathy. In Repin's painting, the peasant recognizes and sees objects the way he recognizes and sees them outside of painting. The gap between art and life disappears, the need to accept convention and tell myself that the icon depicts Christ disappears because, according to its design, it depicts Christ, even if the iconographic image does not remind me much of a person at all. The fact that Repin can write so realistically that identifications are self-evident, instantaneous and do not require any effort from the viewer is wonderful. The peasant also likes the wealth of self-evident meanings he discovers in the picture: “it tells a story.” Compared to Repin's paintings, Picasso's paintings are so spare and meager. Moreover, Repin elevates reality and makes it dramatic: sunset, shell explosions, running and falling people. There is no more talk about Picasso or icons. Repin is what the peasant wants, who wants nothing but Repin. However, fortunately for Repin, the Russian peasant is protected from the products of American capitalism - otherwise he would not have resisted the cover of the Saturday Evening Post created by Norman Rockwell.

Ultimately, we can say that a cultured, developed viewer extracts from Picasso the same values ​​that a peasant extracts from Repin’s paintings, since what the peasant enjoys in Repin’s paintings is, in a certain sense, also art, only of a slightly lower level, and the same instincts motivate a peasant to look at paintings as encourage a cultured viewer to look at paintings. But the final values ​​that a culturally developed viewer receives from Picasso’s paintings are found at a second distance, as a result of reflecting on the impressions directly left by artistic forms. Only then do the recognizable, the miraculous and the evoking empathy appear. These properties are present directly or explicitly in Picasso's painting, but a viewer sensitive enough to respond sufficiently to the artistic qualities must project these properties into Picasso's painting. These properties refer to the "reflective" effect. On the other hand, in Repin the “reflective” effect is already included in the paintings and is suitable for the pleasure of the viewer devoid of reflection. Where Picasso paints causes, Repin paints consequences. Repin digests art for the viewer and relieves him of effort, provides him with a shortcut to pleasure, avoiding what is necessarily difficult in true art. Repin (or kitsch) is synthetic art. The same can be said of kitsch literature: it provides fake experiences to the insensitive people with much more immediacy than serious literature can hope to do. And Eddie Guest and "Indian Love Lyrics" turn out to be more poetic than T. S. Eliot and Shakespeare.

Extravagance harmonizing with outright bad taste, a combination of exoticism and nihilism, bright colors and loudness of external forms. This is how we can characterize the kitsch style - one of the youngest and brightest. How to create an interior in this style? What decorative elements can be used? What is needed to create a fashionable kitsch look?

Origin of the style

The etymology of the word “kitsch” is quite controversial. There are at least three versions of its origin. According to the first, this word comes from German musical jargon: kitsch - "hackwork". The second option is the appearance of the noun “kitsch” from the German verb verkitschen , meaning “to make cheaper.” Another version - origin from English forthekitchen - “for the kitchen,” which meant tasteless items that had no place in a “decent room.”

In any case, the word “kitsch” has negative connotations. Therefore, it is common to use it as the opposite of good design.

History of kitsch style

Opinions also differ about when the kitsch style was introduced into the interior of houses. Some designers claim that this happened at the end XIX century, others believe that this style entered homes only in the first half XX century. By the way, there is an opinion that kitsch has always existed, and therefore it is wrong to limit it to a time frame.

Kitsch directions

Experts divide this eccentric style into three main areas:

1. Lumpen kitsch. This direction appeared thanks to poverty! The bleakness of such rooms is diluted with bright colors, rich shades and unusual accessories. Features: acid colors, graffiti, road signs and even phone booths!

2. Pseudo-luxurious kitsch: a combination of wealth and lack of taste. The incredible ideas of the nouveau riche find their embodiment in this design option. One kitsch room might combine Greek columns painted in neon colors, gold moldings and plastic chairs.

3. Designer kitsch: a competent parody of style. Only professional designers can create kitsch in a home, one glance at which will make it clear that this is ridiculing specific features of the style. The main thing is not to bring it to the point of absurdity.

Main characteristics

The main features of this style that distinguish it from other trends are vulgarity, cheap materials, inexpensive furniture, retro items. We can say that kitsch is a mixture of classics, futurism and country. Decorative elements need to be selected in such a way that they shock and express the position of the home owner and his attitude to life.

The style allows you to combine completely dissimilar finishing materials: velvet and plastic, fur and chrome parts coexist in this space. At the same time, all elements of the style are tasteless parodies of the classics, capable of producing a momentary effect.

Who is it suitable for?

The kitsch style is distinguished by extravagance, and therefore suits brave people who think outside the box. Others simply will not be able to live in such a bright and unusual interior. By choosing kitsch, a person denies the classics, preferring postmodernism to it. Originals who love to shock the public are capable of this.

Ceiling

When decorating a house in the kitsch style, it is important to remember one basic rule: complete freedom and rejection of all rules apply here! The ideal option for such an interior is a suspended ceiling. This solution will make the room more voluminous. The choice of color depends only on the designer’s flight of fancy. Purple or green, blue or red - the atmosphere of this style allows for vibrant experiments. You can dilute bright colors using photo printing. A variety of amulets, dream catchers and pendants that need to be fixed to the ceiling will help bring even more color to the interior.

Walls

The kitsch style in interior design provides very extravagant options for walls. They can be covered with laminate, covered with bright tiles with abstract patterns, or painted with graffiti. Another bold decision - a combination of the incongruous: classic-type wallpaper and wall panels, fancy mosaics and 3 D -wallpaper, glitter and plastic.

Floor

Wood and ceramics, marble and linoleum - there are no restrictions on coating! The floor can be made of one material, or it can harmoniously combine islands from different coatings. For the kitsch style, imitation of unplaned boards, which are replete with extravagant ornaments, is suitable. The carpet plays a special role in such a room - it simply must be as bright and large as possible. The presence of long pile is also important: pillows can be laid out on such a carpet.

Color spectrum

The basic colors in which kitsch can be created are quite aggressive: light green, pink, red, purple. In addition, you can use the most ridiculous combinations. For example, lemon combined with shiny green, matte blue with glossy purple. The stronger the contrast, the better! There are no restrictions here. And to create kitsch you will need gilding: it can be used in any quantity.

Windows and doors

Gothic windows are perfect for kitsch style. It is best to use a combination of luxurious velvet curtains with bright blinds. It is recommended to place artificial plants on the windowsills. The simplest doors will do: to enhance the style, simply decorate them with reproductions of paintings or paint them with graffiti.

Furniture

Kitsch design is a parody not only of a beautiful life, but also of screaming poverty. The interior includes furniture from a landfill, polyethylene curtains, and handmade partitions (for example, from scraps of plastic pipes).

It is distinguished by kitsch and the presence of bright furniture. The dark surface of the walls will be diluted with chairs in pink, orange and green, and cabinets in all shades of the rainbow. For a bright room, furniture in rich dark shades is ideal: marsh, brown or dark blue.

If we talk about materials, then it is better not to use furniture made of wood in the interior of an apartment or house - it is more suitable for a cafe. In the living room or children's room, you should use transparent plastic tables. You can decorate them with colored vases with artificial flowers. It will fit perfectly into this one with imitation gilding. By the way, it should not only be unusual, but also as functional as possible. Another feature: objects must be of different sizes. A glass table and grandma’s old sideboard can coexist in one room.

Lighting

There is no unity in kitsch. It is best to combine several sources - classic chandeliers, sconces or even candles in candelabra can be placed next to paper lanterns. It is important that the light is bright enough - every detail should be clearly visible.

Accessories

The kitsch style involves an excess of romantic elements: soft toys, bows, guipure ruffles, artificial flowers are acceptable. In general, there should be as much decoration as possible! Among the elements characteristic of kitsch are colorful paintings, flashy, tasteless vases, and multi-colored floor lamps. The color scheme is not the main thing here: the goal of kitsch is disharmony. A kitsch-style apartment is designed to create the effect of a luxurious home. For this purpose, colorful carpets on the walls, crystal chandeliers, gilded pseudo-columns made of foam plastic, home fountains, and massive floor vases are used.

Special attention should be paid to the carpet: it must be large, soft and as bright as possible. It is best to purchase a product that has several colors, as it will fit into absolutely any room, while giving the furniture and accessories a completely different look. It is also important to note that the carpet should have a long pile, because often children play on it or adults sit on it (by the way, small pillows are placed on the floor for this purpose).

Kitsch style in clothes

For lovers of bright, extraordinary solutions, an image in this defiant style will be perfect. Just like in design, here it is necessary to combine what, at first glance, cannot be combined. When creating such a look, bad taste should become a conscious choice. Kitsch came into fashion at the beginning of the last century, but its heyday was in the 70s-90s. What fashionista didn't wear tight acid leggings, sequined tops and daring miniskirts back then? Now kitsch has slowed down a bit, but still allows extraordinary girls to show their individuality!