[3] In the years following the revolution, Stepanova involved herself in poetry, philosophy, painting, graphic art, stage scenery construction, and textile and clothing designs.

In 1920 it came to a division between painters like Kasimir Malevich who continued to paint with the idea that art was a spiritual activity, and those who believed that they must work directly for the revolutionary development of the society.

In 1921, together with Aleksei Gan, Rodchenko and Stepanova formed the first Working Group of Constructivists, which rejected fine art in favor of graphic design, photography, posters, and political propaganda.

[5] In 1921, Stepanova moved almost exclusively into the realm of production, in which she felt her designs could achieve their broadest impact in aiding the development of the Soviet society.

[8] However, war-induced poverty placed economic restrictions on the Russian Constructivists’ industrial fervor, and their direct engagement with production was never fully realized.

Made of dark blue and grey material, the graphic costumes allowed actors to maximize the appearance of their movements, exaggerating them for the stage and transforming the body into a dynamic composition of geometric shapes and lines.

[8] In doing so, she designed clothing for men and women in both industrial and professional capacities with meticulous consideration of seaming, pockets, and buttons to ensure each aspect of the costume maintained a functional intention.

Regardless of the occupational context, her working clothing carried a distinctive geometric and linear edge, rendering the body into a graphic composition and boxy, androgynous form.

[11] The second category, sportodezhda, or sports costumes, also presented bold lines, large forms, and contrasting colors to enable and emphasize the body's movements and allow spectators to easily distinguish one team from the other.

[11] The sports arena offered a context for Stepanova to realize an idealized bodily neutralization, and her uniforms were often unisex with pants and a belted tunic that obscured the human form.