The article is devoted to the problems of the formation of souvenir assortment in the 1960s at the largest stonecarving enterprise of the USSR - Sverdlovsk factory "Russkiye Samotcvety". The study of a topic not previously covered in the context of the plant's activities, based mainly on archival information preserved in the State Archive of the Sverdlovsk Region, suggests considering the souvenir as an important part of the art-industrial factory produced by the leading in the region at that time. Previously unpublished and unexplored archival materials allow, firstly, to talk about the thematic directions of souvenir models of the decade, their origins and development, the problems of uniformity and the search for new artistic solutions since the middle of the decade under consideration. In this context, the considered examples of the factory's products are of particular interest, related to important personalities for Soviet culture and major events in the life of the state, with preparations for the celebration of the 100th anniversary of Vladimir Lenin. Secondly, the appeal to such an atypical and often overlooked by Soviet art studies material as a souvenir due to the very type of object (its chamber nature and the originally inherent need for a vivid expression of a certain idea) allows us to trace stylistic transformations taking place in domestic decorative and applied and related artistic and industrial art in maximum concentration. Thus, as a possible stylistic identification of the works of the art industry of the period under consideration, the use of the definition of "late functionalism" is proposed. In the opinion of the authors, this term, on the one hand, reflects the uniqueness of the artistic situation in the field of decorative art of the 1960s. On the other hand, unlike the irrelevant expression "modern style" used today, it can demonstrate the real connection of Soviet decorative art and the art industry with the world stylistic trends of the 1960s-1980s.