This article examines the issues of identity and reflections on crossing the gender spheres in the mondanity-related work of Lydia and Natalie Mei in the 1920s. The article focuses on analyses of Lydia Mei’s paintings ‘Woman with Cigarette’, ‘Still life with Top Hat’, and ‘Still life with Snowdrops’ and Natalie Mei’s drawing ‘Petrograd’ and collage ’Portrait of a Man’.