From anchors to cats, Soviet-era tattoos tied to identity and defiance

Tattoo artist and researcher Oskar Poll says Soviet-era prison and military tattoos signaled identity, status and defiance, with motifs including demons, skulls and anchors.
Poll, a junior researcher at the Estonian Literary Museum (EKM), said tattoos were most common among prisoners, sailors and soldiers, and often signaled group belonging.
Cats, for example, denoted thieves, while a rose wrapped in barbed wire signified time spent in juvenile detention.
"For prisoners, tattoos were a symbol of pride," he said, adding that inmates also simply had a lot of time to spare.
While prisoners were often also the most heavily inked — including with the largest and most intricate designs — sailors, soldiers and trade students often copied prison styles. In the Soviet military, unit tattoos were likewise popular.
Religious imagery, Poll noted, was less about faith than defiance.
"Because religion was forbidden in general in the Soviet era, it became a form of opposition," he explained.
Despite the lack of formal training, Poll considers these amateur tattoos a form of art.

Prisoners drew inspiration from a wide range of sources, including photos sent by women and images copied from newspapers and magazines.
"One guy in northern Siberia even had a Statue of Liberty tattooed in the 80s," he said.
Older clients increasingly common
Despite their dubious local history, Poll said tattoos have become increasingly mainstream in Estonia today, with growing acceptance even among older adults.
"We've reached a point where even more and more older people are getting inked," he said, citing a 70-year-old client who chose a small rose design.
He added that many older women who come in for tattoos have thought about getting one for years but were stopped by a husband or partner.
"And once he was no longer in the picture, the woman would take her body back," he added.
Last year, Poll published "Father, I Had a Bird Made on Me! Tattooing in Soviet Estonia," a book based on his master's thesis research.
He is now pursuing a PhD focused on post-1991 Estonia, including the rise of modern tattoo culture and professional studios.
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Editor: Annika Remmel, Aili Vahtla












