Body Doubles: the Origins of the Fashion Mannequin

Home , Brunswick (clothing), Princess line

VOLUME 1

Body Doubles: The Origins of the Fashion Mannequin

BY ALISON MATTHEWS DAVID

Abstract: This article traces the origins of the mannequin and challenges the gender assumptions it has been cloaked in. In nineteenth-century Paris, the fashion mannequin became a key technology in the construction of normative bodies, a principal “actor” in shaping current clothing cultures, and literally embodied debates over creativity and commodification. It locates the origins of the mannequin and the advent of live male fashion models in the bespoke tailoring practices of the 1820s, several decades before the female fashion model appeared on the scene. It ties the mannequin to larger shifts in the mass-production, standardization, and literal dehumanization of clothing production and consumption. As male tailors were put out of business by the proliferation of mass-produced clothing in standardized sizes, innovators like Alexis Lavigne and his daughter Alice Guerre- Lavigne made, marketed, and mass-produced feminized mannequins and taught tailoring techniques to and for a new generation of women. Starting in the 1870s and 80s, seamstresses used these new workshop tools to construct and drape innovative garments. Despite the vilification of the mannequin as a cipher for the superficiality and lack of individuality of fashionable displays in the modern urban landscape, early twentieth-century couturières like Callot Soeurs and Madeleine Vionnet ultimately used mannequins to produce genuinely creative clothing that freed the elite female body and allowed it new forms of mobility.

KEYWORDS

• mannequin • gender • fashion • Paris • seamstress • tailor VOLUME 1 Body Doubles: The Origins of the Fashion Mannequin Contextual Introduction sentimentally attachedtothis articlethananyother. Iamreluctant ties tosomanypeopleand placesthatI’vebecomemore allowed memeetandestablish strong intellectualand emotional alienating. Infact,workingon the mannequin’s inanimateformhas that mylabouronit,ifoftenangst-ridden,hasbeenanything but an object that literally embodies dehumanization, I concluded that itisboth,andmore. mannequin wasan object or an idea. I can now say with conviction preliminary manner. Apeer-reviewer askedmeearlyonwhetherthe the possibilitiesoffered byActor-Network Theory(ANT),ifonlyina approach andhaveattemptedtoincorporate,sospeak,someof terms oftheoretical frameworks,IbeganwithaMarxist-feminist of making clothing in the setting of a French fashion school. In experiencing theactualstudioenvironments andtechniques well as talking to an eighty-year-old tailor in Paris and kinetically Nationale inParisthatformpartofmyarthistoricaltraining,as I unearthedintheCabinetdesEstampesatBibliothèque infancy ofsuchtechnologies),closereadings ofobscure images the word process involvedeverything from systematicdigitalsearches for and frameworksatourdisposalasscholarsoffashion.Theresearch field, andIdofeelitdrawsontheuniquerichnessofapproaches continually updatedittoreflect theexpandingliterature inour amount ofarchival andactual sleuthingitrequired. However, Ihave same article today, norwould I nowhave the time to do quitethe dissertation, whichIcompletedin2002.wouldnotwritethe journal. of FashionStudies,andthelaunchinauguralissueour in thecontextofhistoriesmyevolutionasascholar, thefield on thepublicstage.Ifeelitisimportanttoplace“BodyDoubles” minds thathavebeeninvolvedinitsextendedgenesisanddébut but itisimportanttomeacknowledgethehands,hearts,and to finallyshare thisessayfree ofcharge to readers andtoletitgo, and thelabourthatgoesintothemisequallyunseen.Iamthrilled Like garments, academic articles are largely produced “backstage” In reflecting ontheprocess ofworkingonthemannequin, “Body Doubles”wasoriginallyachapterofmydoctoral mannequin in French literary sources (in the relative 2 VOLUME 1 Body Doubles: The Origins of the Fashion Mannequin creative practitioners,andstudents.Thankyouall. Fashion Studiesandthegenerosity ofmycommunity scholars, have learnedsomuchfrom mypioneeringmentorsin the fieldof Dr. BenBarryandanincredible internationaleditorialboard. I edit anewjournalinthefieldwithmyfriendandfellow idealist culture toaninterdisciplinary scholarabletocollaborateandco- graduate studentinArtHistorywithalovefordress andmaterial Themannequinhelpedmeonmyjourneyfrom beingalonely over theyears.I’vedonemybest. friends) whogavemesuchhelpfulsuggestionsforimproving it as wellthewonderfulanonymouspeer-reviewers (andmany thank thegraduatestudentsinRyerson’s MAFashionprogram, the utilityofmannequinsfordrapinginstudio.Ialsowant to SchoolofFashion,patientlyhelpedexplain technician atRyerson me essentialcriticalfeedback,andAudrey Colphon,ourfashion proposal. Mythesisadvisor Professor MichaelMarrinangave journal work haslegitimatedthefieldandwhofamouslylaunched Textiles tome.IalsowantthankProfessor Valerie Steele,whose who revealed themanifold possibilitiesoftheHistoryDress and along with Lesley Miller and Judith Attfield, were ideal mentors SchoolofArtin2002.Barbara, paid positionattheWinchester she wasinstrumentalinsettingmeonthetracktowards myfirst dedicated toher. I also madeBarbaraBurman’s acquaintance,and scholar, who becameatruefriendandmentor. Thisarticleis conference ImetProfessor Caroline Evans,afellowmannequin Hidden Consumerwasalifelineduringmydoctoralwork.Atthat Fashion. Iwishtoexpress mygratitudetohim—hisbookonthe present “BodyDoubles” at aconference attheLondonCollegeof first job.Professor Christopher Breward encouragedmeto Whenitlefttheworkshop,thisresearch helpedmegetmy but illuminatingexperience. which havebeenpasseddownforoveracentury. Itwasahumbling to formallyenroll asafashionstudentandlearnhistechniques, Lavigne’s papersinESMOD’s archives, butinorder todosoIhad tailor AlexisLavigne.Formyresearch, Iwasdetermined toaccess techniques delamode(ESMOD),theschoolfoundedin1841by took a summer course at the Parisian École supérieure des arts et me graspthemechanicsoftailoringandpatterndraftingwhenI to let go of this “actor” in my life. As a student, this work helped in 1997, just as I was writing my dissertation Fashion Theoryin1997,justasIwaswritingmydissertation 3 VOLUME 1 Body Doubles: The Origins of the Fashion Mannequin “Mannequin ofmannequins, and allisbutmannequin!” Un autre monde,1844 – J.JGrandville, the screens ofsocialmediafeeds. emaciated figure who struts across the catwalk and scrolls down used todesignatethelivefashionmodel,thatidealizedand often “true fairies”ofthearcades. Parisian dollsenchantedWalter Benjamin,whocalledthemthe shop windowdummy. every boutiqueanddepartmentstore inthecast-resin guiseofthe their studios,whilemore visiblebrothers andsistersanimate “tailor’s dummies”or“dress forms”behindthecloseddoorsof fashion studentsanddesignersdrapeconstructgarments on called lay-figures inEnglishstillhelpartistsdrawandpaintas professional fashionmodel.Miniature, articulatedwoodenpeople artists’, tailors’,anddressmakers’ dummiesaswellthelive, these diversefigures, the French word mannequindesignates English language has specific terms to differentiate between bodies, quicklyadoptedtheseusefulmannequins.Whilethe their art.Tailors andthendressmakers, whoalsorequired docile these pliableandplianttoolscalledmannequinsinserviceof own life-sized,oftenjointed“dolls.” Painters posed and dressed became children’s playthings,butprofessional artistshadtheir disturbing rangeofhumanoidfigures. Someofthesebodies their skillinproducing an astonishing,beguiling,andsometimes and entrepreneurs ofParisgarnered aworldwidereputation for 2 Finally, theword mannequinwasandisstill 1 Inthenineteenthcentury, theartisans 4 VOLUME 1 Body Doubles: The Origins of the Fashion Mannequin blurs theboundariesbetweendeathandlife, animate andinanimatebodiessuggests,the female andmale,continuestopopulate As theuseofoneword forthesemultiple French the spacesoflabourandcommerce. mannequin isashape-shifter, who mannequin hasdominatedhistoricalscholarshipinthefield. the onewhosecontoursare determinedbyfashion.” woman, butoftheonebornourmannered andperversetastes, mannequin? Itisthehistoryofwomanherself,not natural and erotic charge ofthefemalemannequin:“Thehistory the history of the tailor’s dummy in favour of the more alluring of themannequin.Hisretrospective accountcompletelyeffaced Paris. contests overcreativity and commodificationinnineteenth-century “actor” inshapingcurrent clothing cultures, andliterallyembodied technology intheconstructionofnormativebodies,aprincipal assumptions ithasbeencloakedin.Themannequinwasakey the origins of the fashion mannequin and to challenge the gender is less than two hundred years old. This article attempts to trace making andsellingofclothing,theirhistoryinthefashionindustry Yet despite the starringrole mannequinscontinuetoplayinthe (ANT), thisarticlenuancesour interpretations ofmaterial culture, fetishism, gender studies, and Bruno Latour’s actor-network theory body. the femalemannequinandfocusonhercommodified,eroticized Surrealist arthasreinforced scholarlytendenciestopsychoanalyze uncanny presence intwentieth-centuryshopwindowdisplaysand In 1900, Léon Riotor published the first book on the history In 1900,LéonRiotorpublishedthefirstbookonhistory 5 Drawing on frameworks informed by Marxist commodity DrawingonframeworksinformedbyMarxistcommodity 3 The female Thefemale 4 Her Her 5 VOLUME 1 Body Doubles: The Origins of the Fashion Mannequin consumption ofmasculinities. troubling andcomplexsiteforthelessvisibleproduction and time toshiftourfocustheearliermalemannequinasan equally echo inpopularandscholarlytropes ofthemannequintoday. body ofParisianfashion dating from thefin-de-sièclecontinueto the Parisienne’s superiority. Thesestereotypes ofthefeminized proliferation occurred atatimewhenParisvociferously proclaimed period tothefin-de-siècleisas remarkable asitiscomplex.Her copies. Themannequin’s radicalsexchangefrom theRomantic window dummies across the globe in millions of almost identical century, when Franceexporteddress formsandseductiveshop reviled byRiotordidnotoccur untilthesecondhalfofnineteenth feminization and production of female mannequins celebrated and performances ofthefashionablydressed bourgeois body. Themass and consumptionartists,writers,criticscaricatured their tailoring. Theyquicklypopulatedspacesoffashionproduction of hegemonicmasculinityandhelpedtoproduce revolutions in actors, thesenoveltailors’mannequinsenforced sartorialideals and stiff, paintedshopwindow dummies.Asbothartifactsandlive dandy-for-hire inthefleshwasjoinedby inanimatetailors’forms to thestylishmenhired bytailorstoadvertisetheirwares. (1830–48), thesomewhatderogatory termmannequinwasgiven as the1820sandevenmore commonlyduringtheJulyMonarchy mannequins appeared before theirfemalecounterparts.Asearly contrary toestablishedfashionhistorynarratives,Iargue thatmale of howfashionenvisionedandreified normativebodies.Infact, demonstrating thatmalemannequinsare keytoourunderstanding during thesecondhalfofnineteenthcentury. proposes ageneralfeminizationofthecommodityinmassculture sectors, butexemplifyAndreas Huyssen’s theoretical model,which part, theyare related tochangesinthegarmentindustryandretail 9 8 Itistherefore 6 This This 7 In In 6 VOLUME 1 Body Doubles: The Origins of the Fashion Mannequin The Mannequin’s Prehistory display actual,full-scale malefashionsinthe I believethatthesepainter’s “lay-figures,” Yet becauseoftheirgenderandfunction, dummies usedspecificallytodesignand rather thanfemalefashiondolls,are the true ancestorsofthefirstcommercial nineteenth century. survives in the collections of the Museum of London. an elitemaleandworking-classfemalewardrobe (ca.1750–62) the 1740sbyFrench sculptorRoubiliacandaccompaniedby objects stillexist,butasmall-scalemannequinhand-crafted in or masculinemannequinsasartists’“silentpartners.” historians havemanagedtopaintaclearer picture of androgynous fashion production anddisseminationstillrequires elucidation. known fashion“dolls”were female,andtheirrole in EarlyModern prehistory placesthemannequinincontext.Thefirstandonly Before embarkingonastudyofthenineteenthcentury, ashort individually articulated[1].By the mid-eighteenthcentury, the wig craftedofhumanhairand thefingers,whichare poseableand quality of its construction and dress are evident in details like the tools” inartisticpractice. early fifteenth century, mannequinsare documentedas“common Middle Dutch,mannekijnor“littleman.” these bodydoublesare difficult todocument. articulated mannequinswere fairlywidespread. française and by the eve of the French Revolution, life-sized, for drapingandrendering fabric. of maleorandrogynous human bodieswere idealclotheshorses three-dimensional, abstract, and often articulated representations By 1694, the word had entered the dictionaryof the Académie 12 Theword mannequincomes from the 15 14

Like fashion dolls, the origins of Like fashiondolls,theoriginsof 13 These small-scale, Thesesmall-scale, 16 Few of these Fewofthese 17 The high The high 11 By the Bythe 10 Art Art 7 VOLUME 1 Body Doubles: The Origins of the Fashion Mannequin wooden andpaintedhead.76 cms. ©MuseumofLondon. wool, andanoutercoveringof silkstockinette,withacarved view, ca.1740.Skeletonof bronze overlaidwith cork, horsehair, François Roubiliac,ArticulatedArtist’s Lay-Figure , Front andBack FIGURE 1 8 VOLUME 1 Body Doubles: The Origins of the Fashion Mannequin Mannequin Chic? faces. with silkcloth“flesh”coveringsand realistic paintedpapier-mâché sized, articulatedpaddedmannequinsperfectionnés,complete French had become the most prominent makers of luxury, life- relocation from thepainter’s studiotothetailor’s workshop. full-scale mannequins, but the nineteenth century saw thisobject’s to comeinforlengthyposingsessions.Artistscontinueduse costly livemodelsorwealthysitters,obviatingtheneedforclients overlapped inearlynineteenth-centuryParis. is notclear, the eliteworlds of art,literature, andfashion constantly moment andmeansofthistransitionfrom artist’s totailor’s atelier make andsellclothingstartinginthelate1820s.Whileexact dummy are difficult totrace,buttailorsseemhaveuseditboth As withthelay-figure, the exactoriginsofthemannequinastailor’s tailored “look.” drawing andwassoonappliedtothosewhosportedadashing, of as artists’ slang for an artificial butsuperficiallyelegant way slice ofatailor’s shears,originatedintheearlynineteenthcentury word “chic,”whichsounds likethescrawlofanartist’s pencilorthe including StaubandKleber, were considered “sculptors.”The Vernet andPaulGavarnidrew fashionplates, whilethebesttailors, piece, and“suppliedthefewwithluxury.” their canvasesforsaleintheopenmarketplace,”were paidbythe common. AsRobynRoslakargues, manyParisianartists“produced form. Inorder tocreate whatAnneHollandercallsthese“heroes shaping itwithbuckramlinings tomoulditperfectlythemale clients’ bodieswithwoollenbroadcloth, steamingthe fabricand century tailorswasonperfectcut andfit:theyliterallysculptedtheir suit ofthelaternineteenthcentury. Theemphasisofnineteenth- Ancien Régimetransitionedintothesevere, blackbourgeois Extravagantly decorated, colourful elite men’s dress in the dressing. many men’s subjectiveandembodied experiencesofdress and towards suitsmadeinadvancefortheopenmarket,transforming saw thesameshiftfrom bespoketailoringforthewealthyfew 18 Thesethree-dimensional, poseablebodiescouldreplace 20 The marketing of fashion and art had much in Themarketingoffashionandarthadmuchin 21 The nineteenth century Thenineteenthcentury 19 Artists like Horace ArtistslikeHorace 9

VOLUME 1 Body Doubles: The Origins of the Fashion Mannequin became anessentialworkingtool. and construction in the early nineteenth century, the mannequin making errors. Assuitjacketsbecameincreasingly complexincut dimensional patternsontothree-dimensional bodieswithout the bodyofclient. interactions andtraditionalmethodsofdrapingclothdirectly on tailoring techniquesbegantotakeoverfrom embodied,intimate clothing construction, as flat pattern drafting and “geometrical” mathematical turn influenced tailoring systems and practices. in “industrialsizes,”ManuelCharpydescribeshowquicklythis on standardizing nineteenth-century French bodiesandclothing 23 in wool,” metre (1839). corsage mécanique(1829),andDelas’somatomètre orbody- produced instrumentslike Beck’s costumomètre (1819),Sylvestre’s and theirpublicationofnewgeometriccuttingmethods.They with eachotherintheirpatentingofmeasuringapparatuses During thefirsthalfofnineteenthcentury, mastertailorsvied of papertomarkthebodilydimensionseachindividualclient. reserved for expensive cloth; tailors simply cut notchesin pieces precision. Inprevious centuries,exactmeasurement hadbeen process withthedecimal system. make measurement amore rational,universal,and“democratic” tithes oftaxablegoods.Postrevolutionary scientistsattemptedto standard, andallowedlocal noblestosettheirownmeasures for Imperial system),usedthe“piedduRoi”or“King’s foot’asa included measurements like poucesorthumbs(inchesinthe highly regionalized, and aristocratic AncienRégimesystemthat or several fittingsessions. The final garment was then adjusted on the client’s body during mètre révolutionnaire attempted to replace the bodycentric, It wasdifficult totransfercomplex garmentsmadefrom two- After the French Revolution, the newly invented metric system 22 the human body had to be measured with meticulous 26 Mathematical abstraction became the norm in 24 In hiscomprehensive article 10 25

VOLUME 1 Body Doubles: The Origins of the Fashion Mannequin In theartworld,mannequinshelpedartists bodies oftheirsittersontotheflat,two- translate thethree-dimensional, clothed dimensional surfaceofthecanvas. and dressmakers. to advertiseseparatelyfrom thosewhosoldmannequinstotailors processes meant that mostmanufacturers ofartist’s layfigures begin dimensional bodyofthemannequin.Theseopposingcreative take aflat,two-dimensionalpatternandbringittolifeonthethree- The fashionmannequinreversed this dynamic, allowingthe tailorto artists. continued tomarketandsellboththegarmentindustry lists severalmanufacturers, includingStockmanandMerle,who of administrations:children, prisoners,boarders, orsoldiers.” ‘dominated’ peopleandcolonial subjectswhousuallywere part cultural resistance[s]” because“theywere establishedfor popularity ofclothinginfixedsizesencountered “multiple sizes forthemassmarket.According toCharpy, however, the bespoke tailorandturnedthemintogarmentsinstandardized took the scaled, geometric patterns so lovingly invented by the confectionneur, orready-made clothingentrepreneur. Thesemen the lowerendofscale,blockfigures proved invaluableforthe demand fortherapidproduction ofmore fitted,elegantsuits.On in thefirsthalfofnineteenthcentury responded toconsumer long existedfortheworkingclasses,anewbreed ofentrepreneur wanted his clothing immediately. While readymade clothing had the harried working-class customer of the nineteenth century mannequins sculptedtotheirprecise measurements. Bycontrast, want tocomeinrepeatedly couldhaveindividualized,bespoke on standardized tailor’s dummies. Wealthy clients who did not end tailorswhomadesuitsfortheelitedidnotrely asheavily lengthy fittings.However, eveninthenineteenthcentury, high- dispensed withtheneedforbusybourgeois clientsto“sit”for Like thelay-figure before it,intheorythetailor’s dummy 28 27 Yet the1900 directory ofParisiancommerce 29 11 VOLUME 1 Body Doubles: The Origins of the Fashion Mannequin Cabinet desEstampes,Bibliothèque NationaledeFrance. A tailor’s dummyintheworkshop , ca.1826–9.Penandink.Paris: FIGURE 2 their work [2]. Bolts ofclothlinethewallsaroom illuminatedby [2]. work their drawing datestocirca 1826–9andshowstwotailorsabsorbedin on the cut of the suits in the image, the anonymous pen and ink that itwaslinkedtotheproduction ofready-made clothing. Based The earliestdepictionIhavefoundofamannequininusesuggests functional toolsusedintherelative secrecy ofthetailor’s workshop. Tailor’s dummieswere rarely illustratedbecausetheywere 12 VOLUME 1 Body Doubles: The Origins of the Fashion Mannequin entrepreneur. as anessentialtoolintheworkshop ofthetailorandclothing century ithadjoinedshears,paper patterns,andthetapemeasure “real” bodyoftheclient.Regardless ofitsshortcomings,bymid- constantly mobileandyieldingfleshvaryingpostures ofthe of thetailor’s dummy, whichcouldnotadequatelyreproduce the the actualusefulnessof stiff, abstracted, “mechanical” body professional journalslikethisoneprovide ambivalentaccountsof advent of“another”tailor’s dummy: 48). In1839,theJournaldesMarchands-Tailleurs announcedthe relative frequency duringtheperiodofJulyMonarchy (1830– late 1820s.Written evidence appearsinthetradeliterature with idea ofthescaleoperation. designated numericallyratherthanbyname,providing uswith an they couldbeorder numbers forindividualclients,whomayhave pieces that were bespoke or “spoken for” by individual clients,or made instandardized sizes foranonymouscustomers,ratherthan suggesting several possibilities. Perhaps theseare garments strangely floatingontherightwithnumberspinnedtothem, garment. There is a row of completed frock and cutaway coats template forthetailorsor to check the fitandhang ofthefinished to us. Presumably it is being used as a three-dimensional visual occupies the centre oftheimage,where it“stands” with itsback over theirwork.Theheadlessbutseeminglyembodiedgarment dressed inaform-fittingjacketpresides somewhat imperiously coiffed, asonewouldexpectoffashionprofessionals. Adummy still calledentailleurinFrench. Bothtailorsare stylishlydressed and his workbench,hunchedoverinatraditionalcross-legged position over them,plieshisneedle,pad-stitchinglapels.Thistailorsitson knees are mostlyconcealedunderthestillsleevelessjacketdraped out clothfrom oneofthesebolts,whilehiscompanion,whose one large windowontheleft.Thestandingtailorrightcuts While atfirstglancethispieceseemstobeapromotional blurb, This visualevidenceofthetailor’s dummyinusedatestothe item… advance whetherornottheywillhavetoretouch each this apparatus…[and]are abletoassure themselvesin tailors, becausetheycantryallsortsofgarmentson appeared inParis.Itis,they say, extremely usefulfor Another mechanical-mannequinofnewinventionhas 30 13 VOLUME 1 Body Doubles: The Origins of the Fashion Mannequin New Actors apparently describe.” workroom and“actively construct andperformtheworldthey mannequins becomepartofan“assemblage”inthetailor’s dissolve theboundariesbetweenhumanandnon-human“actors,” human actors.In actor-network theory (ANT), which aims to not merely aninertthing —itwieldedapowerofitsownover mounted” apparatus of the 1830ssuggest, the mannequin was As the1820sdummy“supervising”workersand“spring absences intheassemblagestypicalofearliertailoringpractice. seems tobe“directing operations,”producing twoglaring the 1820sdrawingimplies,mannequin’s bodynowhumorously interaction betweentailorordressmaker andindividualclient.As altering orsometimesevenreplacing thefleshlyandpersonalized the bodythrough anormativeandstandardized intermediary, mannequin changed the way cloth and humans interacted with to performactions,produce effects, andaltersituations.” an actor“isthatwhichdoessomething,hassufficient coherence as atechnologyinthegarmentindustry. InJaneBennett’s words, exactly howoftenoverlookedobjectslikemannequinsworked often appliedtofashionhistory, ANTshowspotentialinexploring workshop, tools,mannequins,andcustomers.Thoughitisnot apply totherelationships produced byandthrough thetailor’s by thetoolsandscientistsinalaboratorysetting,couldequally methodology toanalyzehowformsofknowledgewere constructed 31 ANT, whichoriginallyusedanethnographic 32 The The 14 VOLUME 1 Body Doubles: The Origins of the Fashion Mannequin Narcissistic Mannequins to produce anelegantsuitofclothes.This the intimatedialoguethatwasnecessary omission mayseemminor, butitheralds longer present, norare theyinvolvedin The mastertailorandhisclientare no a shiftintheembodied,physical,and emotional relationship between maker andclient. boutiques.” on garments,addtothedecorationofmostelegantsalons or precision andeleganceiscombinedwiththeirusefulnessfortrying use oftailors,executedusinganewprocess… Thesebusts,whose advertised torsoswithlifelikeheadsin1831:“Men’s bustsforthe century. Amen’s fashionjournalappropriately namedLeNarcisse display arose inparallelduringthefirstdecadesofnineteenth The tailor’s “block”ordummyanditsbrother produced forretail in asimple,headlesstailor’s block. conjuring alifelikenessthatwould beanunnecessaryextravagance extra francs,themakercouldaddanenameledheadand eyes, material focusesontheirsuitabilityasdisplaymannequins: forsix “trying ongarments”or“decorating”boutiques,themarketing and ill-fittingenvironmentally deleteriousfastfashion. us anoften-bitterlegacyofalienatedlabour, unhappyconsumers, It enabledthemass-production ofgarments,whichhasbequeathed 33 While these busts are sold interchangeably for either 15 VOLUME 1 Body Doubles: The Origins of the Fashion Mannequin inhabiting theequallynovelspacesof Mannequins were anew elementofthe spectacle andwriterscaricaturists sometimes-disturbing commodities were quicktocomment onthese Parisian arcades. consumption. the 1830sand1840sasaspaceforleisurely visualenjoymentand spectacles ofretail display. Urbanspacewasredefined during in concealed in his beaux. silk, aswellflashygoldandsilverwaistcoatstoseduceprovincial door” andsell“stunning”dressing gownsmadeofexpensiveLyons all thetailorsinpassagesdisplayadressed mannequin atthe observed scornfullythatinorder topaytheirhighrents “Almost In hisPhysiologiedutailleur(1841),thedandyRogerdeBeauvoir Le Narcisse suggeststhetwo-dimensional fashionplate’s role in the maleconsumersgazingat them.Thetitleofthepublication illusory linkbetweenthedressed bodiesofthemannequins and produced analmosthallucinatoryeffect, engineered tofosterthe and mirrors. that thenewestarcades were fittedwithelaborateshopwindows the 1820s,developmentsinproduction ofplateglassensured day ornight,untroubled bycarriagessplatteringtheirclothing.By commercial geography, whichallowedthebourgeoisie tostroll door?” young manwholookslikeaclothedmannequininfront ofatailor’s dandy leansovertohisfriendand asks dismissively:“whois that readymade outfitpurchased onthe RuedeRichelieu. Tellingly, the hero isinsultedbyatruedandywhenheappearsattheOpérain Le Narcisse advertisedmen’s clothinginincreasingly lavish Unlike theartist’s mannequinortailor’s dummy, whichwas 35 36 InHonoréBalzac’s de 1843novel Thesetailor’s shopsinthearcades were apartofParis’ 37 Whenlitbyflickeringgaslight,thesepyrotechnics 34 atelier, shop window mannequins like the ones Illusions perdues , the 16 VOLUME 1 Body Doubles: The Origins of the Fashion Mannequin window dummiesandfashion modelswere clear usevalueintheMarxist sense,shop read asliteralembodimentsofexchange always-already commoditiesandcanbe While thepracticaltailor’s busthada value andalienated labour. masculinities.” was replaced bymore “calculative,rational,andregulated masculinity thatwasnotpremised uponrationalcalculation quantification and restraint. was oneofthefinalphasesthistrend towards masculine geometrically tailored suitsand theiraccompanyingmannequins the eighteenthcentury. other geographicallocalesduringtheconsumerrevolution of including thoseaimedatmaleshoppers,existedearlierandin Finn have demonstrated that sophisticated marketing devices, fashionable malebodyinconsumerculture. HistorianslikeMargot to amore generalized reification andrationalizationofthe his ownreflection. on display, ifnottowasteawaywhilecontemplatingthebeautyof potential “Narcissus” toimaginehisownbodyinsidetheclothes dimensional bodyoftheblank-featured mannequinencourageda readers. Inaprocess ofself-reification, thegenericbutthree- reflecting theadmiringandpotentiallyhomoerotic gazeofits and newlyemancipatedcapitalists.” onwards as“anappropriate badge”ofboth“reformed aristocrats explored theadventof sobersuitfrom seventeenthcentury This blurringbetweenanimateandinanimatebodiespoints 39 BothDavidKuchtaandChristopherBreward have 38 InEngland,anEarlyModern“gentry” 40 Theadventofstandardized, 17 VOLUME 1 Body Doubles: The Origins of the Fashion Mannequin representations byanimatingtheseanthropomorphic objects[3]: new advertisingpracticeofdisplayingreal garmentsonfigurative paralleled contemporaryParisiansociety. Grandvillecritiquedthe volume catalogue.” [vogue] everywhere, settingthe vogue,forthenewlooksin model, faithfulmirror, Isparklewithlightandfire! Iwander of DandiesandFashionables.”Hectorenterssinging:“Brilliant hires himtoshowoff eccentricoutfitsthatwill“turntheheads translates into English as the “tailor of the beautiful look”) the play, his employer, the tailor Dubelair (whose French name script describes him as a “mannequin, model for fashions.” In whose classicizingnamesuggestshisphysicalperfection.The One ofthecentralcharactersisHector, formerlyanartist’s model, Hunchbacks satirizestheprofession ofmalefashionmodelling. the tailored bodyasitnavigatedpublicandcommercial spaces. awareness ofthepotentialforvisualandsexualobjectification of dress, behaviour, and consumption, there was a growing Alongside theregulation andrationalizationofmasculinecodes from the1820sthrough the1840s. July Monarchy suggests that this was at least a small-scale practice of sources describingthe malemannequindemodeduringthe difficult practicetodocument archivally. However, theproliferation appear inavarietyofliteraryaccounts,earlyfashionmodellingis to dandiesandpoorenoughrequire awage.Althoughthey class statusambiguous:theyhadtobeelegantenoughappeal their profession consisted ofhiringouttheirbodies,making drum upbusiness.Yet whethertheyworkedforartistsortailors, vivants,” thefashionmodelhadtobephysicallyattractive Like artist’s models,calledmodèlesorsometimes“mannequins address, andsendatailor’s employeetotakehismeasurements. new clients.Hewouldthennamehistailor, notetheclient’s des Tuileries, his dress and demeanour were meant to attract In 1844, Jean-Jacques Grandville published the illustrated A vaudevillefrom 1826,Orthopaedics,ortheTailor for by becomingsimpler. as alivingsignboard. Advertisementhasimproved itself found a way to doaway with the man whom they used system. Tailors, hat-makers, bootmakers, milliners, have tipped overoneear:this is anextensionofthesame ladies’ bonnets. Boots walking jauntily with their hats canes holdingtheirheadshighandgivingarmsto What doIseeontheroad? Lacedbuskinsoutwalking, Another World, asatiricalvoyagethrough auniversethat 42 Instructed to stroll in public parks like the Jardin 44 43 18 41 VOLUME 1 Body Doubles: The Origins of the Fashion Mannequin 1844. Paris:H.Fournier. Courtesy ofToronto PublicLibrary. Un voyaged’avril,from Jean-JacquesGrandville,Unautre monde, FIGURE 3 19 VOLUME 1 Body Doubles: The Origins of the Fashion Mannequin the genderingandproliferation ofmannequins. garment and mannequin industries illustrates an important shift in and invented and patented numerous products. inventor, hewasaskillfulself-promoter whowrote cuttingmanuals of democratizingfashionableclothing.Atailor, instructor, and tailor, Alexis Lavigne,(1812–80)madeacommercial success of sociallyprogressive intentions.Oneentrepreneurial master than aperson,theseinnovationswere oftenmadewiththebest Exhibition in Paris. awarded amedalforhis“buststailors”atthetenthIndustrial Lavigne, whodubbedhimselfa“tailleur-mannequinier,” was the absoluteandindifferent uniform.” eighty! Ahundred vestimentary factoriesare leadingustowards relationship withhistailor: “Oneisnolongeraclient,onesize dehumanizing effect ofthisnewregime andthelossofhispersonal 1860s, maleplaywrightslikeAugusteLuchetwere lamentingthe and thensubstitutedthemwithshopwindowdummies.Bythe intimate, tactileinteractionswithclients,employedlivemodels It wouldseemthatbythe1840s,sometailors,whooncehad were reified and replaced by relationships betweenobjects. Karl MarxlaterdenouncedinCapital,whereby socialrelations objects itwears,raisingthespectre ofthecommodityfetishism image are an uncanny presence: they replace the body with the “improvement” ofadvertisingpractice.Theaccessoriesinthis Grandville’s narrator comments ironically on thecostsaving worries aboutuniformityindress, haunts modernsocieties. observes that fear of depersonalization, often expressed through bourgeois men’s alienationfrom theirbodies.ElizabethWilson mannequin’s passivelydressed formstoodasafurthersymbolof the scientificandpoliticalnotionof“hommemoyen,” and tailoring systems based on geometric abstraction enshrined the emblemofthisdemocratizationduringJulyMonarchy of industrialproduction aswell. century sawParistransformedintoanincreasingly importantsite Andre Guillermeremind us,thefinaldecadesofeighteenth the Beaux-Arts and the luxury trades, but as urban historians like Despite Luchet’s perceptions thathewasanumberrather 49 Paris had long been famous as a centre for 50 Lavigne’s career trajectoryinthe 46 Asthetrouser suitbecame 48 In 1849, 47 20 45 VOLUME 1 Body Doubles: The Origins of the Fashion Mannequin Sex Changes:TheFemaleMannequin mannequins, some AncienRégimeParisianboutiqueswithfemaledisplay rather thanbuyingthemreadymade. After the elite luxuryof fabrics andbrought them totheirdressmakers formaking-up weavers ortinsmiths. structures fashionedfrom wickerorwire andmadebybasket more lifelikemaledisplaymannequin,theywere often schematic dummies inthefirsthalfofnineteenthcenturybutunlike Simple female mannequins had existed alongside male tailor’s America, 1900–1929. Smile: Modernism and the First Fashion Shows in France and common trope, asexplored byCaroline Evans in TheMechanical the femalemannequinandherconflationwithprostitutea was Mademoiselle orMadame.Bythispoint,thecommodification of or prostitutes, whowere notafforded the honourofbeingtitled hair. Inhis1907catalogue,hesoldthembyfirstnamelikedolls fame forhiseerilylifelikewaxmannequinswithglasseyesand real realism inmannequindesign.Pierre Imansachievedworldwide mannequin as “artificial” woman, was also the apogee of mimetic century, theperiodatwhichRiotorwasfeminizinghistoryof originally masculineconnotationsoftheterm. the livemodelandshopwindowdummyrevealing the bodies ofthesefilles-mannequins,thusconflatingthe basing theirproducts on caststakendirectly from theelegant parades. By1900,Riotorclaimedthatmannequinmakerswere garments andstagingearlyfashionshows,calledmannequin- the practiceofhiring several housemodelstodisplaycouture his designs. while sheworkedasashopgirlduringthelate1850s,modelling first hautecouture designer CharlesFrederick Worth. Hemether usually considered tobeMarie Worth, whobecamethewifeof settings forexclusiveclients.Thefirstnamedfemalemodelis the femalemodelonlypliedhertradeinrelatively privateretail shops. Unlikethemenhired bytailorstowalkaround inpublic, male counterparts,appeared inthecontextofluxurysilkdraper’s often calledademoiselle-mannequintodistinguishherfrom her whole lengthsofclothorshawlsforeffect. Thelivefashionmodel, of thecenturywassomewhatrudimentaryandbasedondraping 53 52 Other couturiers seem to have quietly adopted Othercouturiersseemtohavequietlyadopted retail displayforwomen’s clothinginthefirsthalf 51 55 Middleandupper-class womenpurchased 54 The turn of the Theturnofthe 21 VOLUME 1 Body Doubles: The Origins of the Fashion Mannequin How didthistransitionoccurinthemid- and encouraged others to turn toanewand encouragedotherstoturn put manycustomtailorsoutofbusiness nineteenth century?Theriseofready- made clothinginthemenswearsector clientele: women. using scaledpatternsystemsforcuttingwomen’s jacketpatterns. half ofthe1850sasperiodwhentailorsstartsystematically Aldrichcitesthesecond existed inthetailoringtrade.Winnifred feminized the techniques of geometric abstraction that had long passionately loved both riding and fashion. The Empress, whohada personal stableofsometwentyhorses, principal residence ofEmperor NapoleonIIIandhiswife,Eugénie. the Louvre. Mostimportantly, itwasclosetotheTuileries Palace, Rivoli andRueSaint-Honoré, neartheComédieFrançaiseand business waslocatedinthefashionablearea betweentheRuede He opened shop at number 3, rue de Rohan in 1857. Lavigne began to advertise himself as a “Tailleur pour Dames”. and totheEmpress herself. appointed curves ofthefemalebody. decorations, fabrics,orcoloursandsculpturally molded the beauty oftheridinghabitrelied onfitratherthanfeminine called anAmazoneinFrench, tookonanew importance. The in popularityofsportamongstthebourgeoisie, thehorsewoman, drafting techniquesinthefirsthalfofcentury.With therise fabrics likesilkandcottondidnotuseelaboratepattern- trade. Femaledressmakers workedwithlighter, more feminine for horsewomen, but these items formed only a small part of their cloth, hadtraditionallybeenresponsible formakingridinghabits Tailors, whowere trainedtoworkwithheavyirons andwoollen In stepwiththesedevelopments,theentrepreneurial Alexis amazonier or habit-maker to the Second Empire court 57 Onabroader level,thisform ofdress 60 The master tailor was 59 Lavigne’s 22 58 VOLUME 1 Body Doubles: The Origins of the Fashion Mannequin Estampes, BibliothèqueNationale deFrance. and Custom-madeBusts,ca.1868.Paris:Cabinetdes Alexis Lavigne,SalesProspectus forRidingHabits FIGURE 4 dresses. Lavigne’s customizedbuststoavoidwrinkleswhenstoringher and marketingstrategies.TheEmpress herselfownedseveralof measure bustsbecameanimportantpartofLavigne’s business customized ridinghabits.Theimagedepictsthehorsewoman’s trade inwomen’s bustsintersectedwithhisexpertiseinmaking de l’Habillement(1868)[4]illustrateshowthisaspectofhisearly prospectus forthesebustsfrom Lavigne’s publicationJournal de Richelieu,thecentre ofthetailoringtradeinParis.Asales Along withthecostumesamazonesheadvertised,made-to- 61 Bythistimehehadmovedupthestreet to15,rue 23 VOLUME 1 Body Doubles: The Origins of the Fashion Mannequin to femaledressmakers. and patterndraftingaimedatteachingtailoringtechniques in thepublicationoftechnicalbooks,aids,andmethodscutting menswear styles.From about 1865tothe1890s,there wasaboom and 1880s became increasingly fitted and were often inspired by of thenineteenthcentury, women’s bodicestylesinthe1870s the increasingly complex cutofmen’s coatsinthefirstdecades had evenmore obvioususes formakersofwomen’s clothing.Like consumer with the space to display her clothing at home, the bust round. their dresses asathird partywould,byseeingthemselvesinthe the bustsandtoimaginethemselvesjudgingvisualeffect of encourages femaleconsumerstoidentifytheirownbodieswith animate woman,betweenbodiesandtheirdoubles.Theimage the mutebust,blurringdistinctionbetweeninanimateand ready tobedressed indifferent garments.Betweenthemsits the women in Lavigne’s advertisement resemble mannequins, 50 formatrons. dress forms,from size38forslenderyoungwomenorgirlsto self-promotion andadvertisesaseriesofsevenscaledLavigne the Parisiancouturiere to“settheline”offashion,itisalso blatant sculptor turned mannequin-maker, launchedhisowncompanyin for theseinvaluableobjects.In 1869Frédéric Stockman, aBelgian annually. sales figures had risen exponentially to over thirty thousand busts firm wasmakingmuchlessexpensivestandardized modelsand not madeingreat quantitiesatfirst.However, by1900Lavigne’s a princess-linepinstripeddaydress. Thesemannequinswere stage. Atthefarrightoflithographstandsawomanwearing with theinitialsL.V. orLavignestampedontheskirttakescentre the left,fully-dressed amazonewearsaridinghabit.Abust metamorphosis intomannequinandthenwomanoffashion.On of mannequins. derived theirsuperiorityfrom thefactthattheyhadacompleteset In theinauguralissuesheproclaimed thatParisianseamstresses costume, andshewrote formanyotherfashionpublications. husband publishedaprofessional journalentitledL’Art dansle instructional tools.From 1885toherdeathin1924,sheand then bywomen,andherlessonsusedmannequinsas basic father’s footstepsasateacheroftailoring techniquesforand Although thisprospectus isaimedatawealthyfemale 62 With theirblankexpressions andidenticalfeatures,With 66 65 Competitorsalsoentered theexpandingmarket WhiletheFrench journalcelebratestheabilityof 63 Alice Guerre-Lavigne followed in her 24 64 VOLUME 1 Body Doubles: The Origins of the Fashion Mannequin to usinthetwenty-firstcentury—novel fact thattheirbodysizecorresponded toa They began to internalize asystemfamiliarThey begantointernalize numeric measurement. 1867 soldforamere 12 francsin1900. substantial reduction intheir cost:abustthatcost45francsin almost obligatoryaccessorytothesewingmachine.” “there ishardly ahomemakerwhodoesnothave herbust,the describing theproducts ofthe1889ParisWorld’s Fairnotedthat studios ofprofessional andhomedressmakers. Onecommentator tools ofthetradeandtookupresidence inthehomesand the 1880sthesemutebodydoubleshadbecomeindispensable “stealing this product.” competition wascomingfrom GermanyandAmerica,whowere city where one could purchase busts, increasing international complained in1885thatwhileParishadformerlybeentheonly Paris andtrulyindustrializedtheprocess oftheirproduction. psychological impactonfemaleconsumers. of bothmass-produced mannequins andjacketssoonhada been subjecttothetyrannyofstandardized sizes,theproliferation the bust!—saysamazon.” am a42,44’—thatnumberwhichindicatesthehalf-measure of “Yes, nowadaysthemannequinhasentered intoourmores. —‘I other usesthebodyofmannequin toworkdirectly in theround. clothing construction:oneisbased onflatpaperpatternsandthe and drapingare nowconsidered diametricallyopposedformsof creative ways by dressmakers than tailors (5). Pattern drafting illustrates, thedress formwasusedinevenmore innovativeand garments. Yet aswomen’s clothingfrom the1870sand1880s translate two-dimensional patterns intothree-dimensional The factoryproduction ofmannequinstranslatedintoa As withthetailor’s dummy, thedress formhelpeddressmakers 70 Although common soldiers had long 71

69 AliceGuerre-Lavigne 68 67 By 25 VOLUME 1 Body Doubles: The Origins of the Fashion Mannequin http://collections.vam.ac.uk/item/O117701/ Brown andAlbertMuseum. woolandsilk.London:Victoria Madame Cridon,DayDress withfittedbodiceanddrapedskirt,1885. above(available atthe URL) FIGURE 5 dress-tridou-madame/. cut, construction,andfabrics[5]: by MadameTridou becomesahybridofmasculineandfeminine feminized bodyderivedfrom themalemannequin,an1885dress fabric inorder tocreate theskirtsilhouetteshedesired. Justlikethe bustle andtheseamstress couldstudythefallanddrapeof mannequin’s three-dimensional body could be attired in a wire fashionable femalebody. corsets, which produced more standardized silhouettes for the in thetechnologyofsupportgarments,includingsteam-moulded in thelate1860s.Thedress formarose intandemwithinnovations pinning, effects thatwere enabledbytheadventofmannequin freeform, asymmetrical,and sculpturaltechniquesofdrapingand styles ofthe1870sand1880sachievedvisualinterest through more was relatively simple and linear. The skirts covering the bustle length carte-de-visitephotographs,butactualskirtconstruction surface decorationandpatternsthatstrucktheeyeinnew, full- worn overthecrinolinesof1850and1860sfeatured elaborate use itbothforpattern-draftingbodicesanddrapingskirts.Skirts Dressmakers with this versatile new tool at their disposal could 72 The corseted, contained shape of the Thecorseted,containedshapeofthe 26 VOLUME 1 Body Doubles: The Origins of the Fashion Mannequin form” “That hideousmachinewithahuman representations ofashopwindowdummyinpainting[6]. 1883–5 as part ofa series on the women of Paris,is one of the canvas Au BonheurdesDames,setinthelate1860s,butJamesTissot’s famously describedtheétalageofmannequinsin1883novel traditional tailoringestablishmentsinthearcades. ÉmileZola Paris replaced the display mannequins standing outside of These bodiesonthenewlyfashionableboulevards ofHaussmann’s department stores garnered themostliteraryandvisualattention. soliciting customersinthelarge plate-glasswindowsofthenew Like hermalecounterpart,thefemaleshopwindowdummy matte masculinewoolwiththesheenoffemininesilk. through draping,whilethe wholedress rhythmicallyalternates body wasconstructedthrough patterndraftinganditslowerhalf emphasize the roundness of the female buttocks. The upper while volumetricskirtsandtheexaggeratedshelfbustle The silk-linedlapelsandfalsewaistcoatalludetomenswear ), painted between The Shopgirl(Lademoiselledemagasin),paintedbetween 73 In the 27 VOLUME 1 Body Doubles: The Origins of the Fashion Mannequin Gallery ofOntario. Corporations’ SubscriptionFund, 1968.©2018Art Oil oncanvas,overall:146.1x 101.6 cm.Giftfrom James Tissot,LaDemoiselledemagasin, c. 1883–5. FIGURE 6 28 VOLUME 1 Body Doubles: The Origins of the Fashion Mannequin thread. looks likeburgundy velvetelaboratelyembroidered withgold has placedaheadlessandlimblessfemalebustclothedinwhat glass window of a shop selling ribbons and trimmings, the artist and Germanindustrialists. trades inthefaceofincreasing foreign competitionfrom American over thecommercial andaestheticdeclineoftheParisianluxury commentary echoeslarger anxietiesduringthe1880sand1890s standardized clothingonsaleindepartmentstores. Hepp’s with newformsofcommodityculture likethe“unoriginal”and The mannequinproved an easy target forexpressions of disgust Parisian womenseemedincreasingly mannequin-like: article writteninthesameyearasTissot’s work,contemporary for sale.AsthenaturalistwriterAlexandre Hepplamentedinan through the window suggests that both bodies are potentially the mannequinare sisters —thegazeofmalestroller looking the samemould.Theimageimpliesthatcorsetedshopgirland These womenresemble one another, theyare “types”castfrom front respectively, astandard deviceinfashion-plateiconography. and couldeasilybethesamebodyseenfrom theside,back,and girls andthedummy. Theirbustsare identicalinshapeandsize, the earth. a catalogue and shipped, postage paid, to theendsof outinahundredchurned thousandcopies,illustratedin mannequin… That elegance you thought unique is “like asister.” Theyare ineffect daughtersofthesame encounter anotherwoman—whoresembles yours to allothers…andsuddenly, acorner, asyouturn you On yourarm,youhaveawomanwhoseemssuperior 74 There are infactthree torsosinthepicture, thetwoshop 75 76

29 VOLUME 1 Body Doubles: The Origins of the Fashion Mannequin Elegance inEffigy mechanical bodyofthemalemannequin counterpart asamass-produced, clearly found easieracceptancethanitsfemale technological progress, theartificial/ Because ofitslinkswithscienceand “unnatural” product of industry. articles,” whichwere lifelike sexdolls. object inaperiodthatalsosawtheinventionof“Parisianrubber between clothandfemaleflesh,practicalsexual “wommanequin,” asHillelSchwartzcallsher, elidingthedifference Benjamin consistentlyeroticized thefemalemannequin,or practical toolofthetrade,malecommentatorsfrom Riotorto While thetailor’s dummycouldstillbeconsidered arationalized, [7]. “LesFashionables”are maleandfemaleversionsof thesame scathingly humorous caricature of1830inthejournalLaSilhouette against fashion’s artifice,whichisfeatured inCharles Philipon’s imagined personae.SincethetimeofRousseau,criticshad railed of elitesocietyandthepotentialforconfusionbetweenreal and Monarchy, themannequinbecameacipherforsuperficiality into questiontheviabilityofa‘real’ self.” distinction between‘real’ and‘imagined’selfhood,thusthrowing the more ontologicalissuesofhowconsumersocietiesconfusethe Julie Parks argues that Enlightenment fashion dolls “emblematize 77 78 Likewise, during the July Likewise,duringtheJuly 30 VOLUME 1 Body Doubles: The Origins of the Fashion Mannequin but smaller-scale imitationsofthemselves: hairstyles, andgigotsleeves.Thecouplehasspawnednotchildren doll. Ofequalheight,theyhavethesamecinchedwaists,overdone wealthy replaced byplaster, wood,orwaxsosiesbodydoubles: frustrated narratorfindshisvisionobscured andthebodiesof clothing ismore important thanthepeoplewearingit,Grandville’s only livebeingsare animals andservants[8].Inthisworldwhere encounters acarriagewaydevoidofupper-class humans.The latest fashions.Inthisalternateyetfamiliaruniverse,thenarrator the wealthyrode onhorseback andincarriagestoshowoff the takes up this theme. Longchamps was a racetrack in Paris where deep. with thefearthatinmoderncity, beautymightonlybecloth- Dressed mannequinsand fashiondollstauntedcontemporaries In achapterentitled“JustlikeLongchamps,”Grandville installed inanyparlourwhere they are desired. without payinganentrancefee…Fashionablescanbe the hoursofthree and fourattheTuileries Gardens astonishingly perfect…You canseethemdailybetween modeled aftertheverytypeofidealbeauty, are eat and act like natural humans. These little machines, The Fashionablesare spring-mounteddollsthatdrink, Mannequin ofmannequins, and allisbutmannequin! the solemnitiesoffashion,thatprophet criedout: goes there tolookattheclothes.Itwaswhilepondering And indeedwhatgoodistherest oftheperson?Oneonly of plaster, woodorwax.Eleganceiscreated ineffigy… in publicpromenades bybodydoubles(sosies)madeout that inthiscountrythefashionistohaveoneselfreplaced most studiedeleganceandthegreatest luxury. Itseems In someofthem,there are mannequinsdressed withthe I canonlycatchglimpsesofwigsorhatsonwoodenheads. Try asImighttopeerpasttheblindsofcarriagewindows, 79 80 31 VOLUME 1 Body Doubles: The Origins of the Fashion Mannequin Public Library. autre monde,1844.Paris:H.Fournier. CourtesyToronto Comme àLongchampsfrom Jean-JacquesGrandville,Un FIGURE 8 32 VOLUME 1 Body Doubles: The Origins of the Fashion Mannequin Paris: Paris: commodification ofthefashionablefemalebodyinfin-de-siècle store mannequininthe 1880sechoestropes surrounding the mannequin itself.Alexandre Hepp’s vilificationofthedepartment cultural critiquemetamorphosesalongwiththefeminizationof luxuriously appointedcarriages,thegenderdynamicofthis and womenwhoposestylishlyastheyare drivenalongintheir While Grandville’s satire isaimedattheidlerich,immobilemen contrast withitsdisparagementofthemannequinusedtosell it. mannequin asfunctionaltoolformakingclothingstandsin stark The nineteenthcentury’s swiftadoption andacceptanceofthe place ofaheart. carcass stuffed withbran,anumberscribbledinink of thefacadesonstreet onsidewalks,itsgrey corners, rooms of the Louvre, the Bon Marché, Printemps, in front human form,whichstandsatattentionthelengthof of fashion.TheMannequin,thathideousmachinewitha sprightly allure and grace, and menaces the whole art The Mannequin has killed summer’s froufrous, its 81 33 VOLUME 1 Body Doubles: The Origins of the Fashion Mannequin and sellthefashionablefacadesthatwere mannequin asoullessmanifestationofthe While malecriticsofcapitalismsawinthe a necessaryifcontestedpartoflivingin helped tailorsanddressmakers produce commodity fetish,asafunctionaltoolit modern cities. modern their creativity hasbeenunderappreciated inthehistoricalrecord. garments likethis draped eveningdress ratherthan“high” art, [9], butbecausetheircreativity resulted incommercially successful and fashionclothingintoradicallydifferent designsandstructures like thefourfemaledesignersCallotSoeurstoconceive, shape, ways. The mannequin allowed early twentieth-century couturières to create newobjectsforwomenindifferent butnolessinnovative female designersanddressmakers continuedtoemployherbody traumatized herprefabricated body as aspur for theircreativity, Yet whilemalewritersandartistseroticized andreconfigured, even century. the femalemannequinascarcass orcorpseintheearlytwentieth skirts inuniqueandindividualizedways. late nineteenth-centurydressmakers likeMadameTridou todrape dimensional bodydoubleprovided thenecessarytechnologyfor Far from “menacingthe wholeartoffashion,”thisthree- generation ofwriters,philosophers,photographers,andpainters. became whatHillelSchwartzcallsthe“enablingfiction”for anew half ofthetwentiethcentury, theeroticized femalemannequin as projections forthesexual fantasiesoftheSurrealists. Bythefirst Walter BenjaminandtheSurrealists tookupthethemeof 82 Theseinertbodieswere then free toserveasartist’s muses, 34 83

VOLUME 1 Body Doubles: The Origins of the Fashion Mannequin Collection, LibraryofCongress. no. 2002714470.GeorgeGranthamBain Photograph byPhilippeOrtiz.Control Right: Metropolitan MuseumofArt. 1951. Accessionno.C.I.51.97.2a,b. Purchase, Irene LewisohnBequest, Left: CallotSoeursdress (1915-16). FIGURE 9 Callot EveningGown(ca.1915). deliberately re-feminized it. “half-size” 80cmmannequine , atermthatsuggestsits owner freely workingwithher [10].AniconicphotographshowsVionnet the entire body in bias-cut clothing that allowed women to move pattern draftingaltogetherandusedthesetechniquesto drape couturières (1876–1975),whoeschewed likeMadeleineVionnet generation of groundbreaking and socially progressive female Using the mannequin,Callot Soeurs and others trained a new 84 In thecouture house,the 35 VOLUME 1 Body Doubles: The Origins of the Fashion Mannequin University of California, Berkeley.University ofCalifornia, Bonney PhotographCollection, Bancroft Library, (ca. 1923–6).BANCPIC1982.111 ser. 15.Thérèse Thérèse Bonney, andhermannequine MadeleineVionnet FIGURE 10 36 VOLUME 1 Body Doubles: The Origins of the Fashion Mannequin into sculpturalformsonlivebodiesinmotion. blank, three-dimensional canvas totransform flat, inanimate cloth skilled makersofclothing,themannequincouldalsobeusedasa suits mayhavecreated “elegance ineffigy,” yetinthehands of bodies ofshopwindowdummiesposinginperfect,uncreased and sculptedwithouttheuseofpatternsatall.Theimmobile which radicallynewformsofwomen’s clothingcouldbedraped onto athree-dimensional body, itbecamethemeansthrough From atoolthathelpedtailors translatetwo-dimensionalpatterns men’s andthenwomen’s clothingoverthecourseofacentury. mannequin helped to change the entire process of creating first had usedtheirlay-figures asmere clotheshorses,thefashion mannequin’s tiesto“art”were re-established. Yet whilepainters 37 VOLUME 1 Body Doubles: The Origins of the Fashion Mannequin David McLintock,NewYork: Penguin,2003. 9 8 5 4 3 2 1 Endnotes 7 6 Chapter 9ofSilentPartners,p.167-89. Press, 1986. See also J. Munro, Commodities: Paris and the Development of the Fashion Mannequin,” “Vivified City: Paris,FashionandtheMedia,London:I.B.Tauris, 2009. called “mannequinparades”inEnglish. 3, no. 1, 1999, p. 3-32; S. K. Schneider, maniérés oupervers,celle auxlignesfigéesparlamode.”RiotorinLemannequin,p.29. forms respectively. (Z1, 2),2002,p.694. University ofManchesterPress, 2002, p.26-47. Taylor has also discussed its history and use in fashion museum displays, Orr, J. Yuzna, M. Russell, J. Potvin,ed.,ThePlacesandSpacesofFashion,1800–2007,NewYork: Routledge,2009,p.200-13;E.Marshall 1800–2007, NewYork: Routledge,2009,p.186-99;E.R.Klug,“MannequinsandDisplayinAmerica,1935–70,” Logic oftheMannequin:ShopwindowsandRealistNovel,”inJ.Potvin,ed.,ThePlacesSpacesFashion, in the 1920s, Bloomington and Indianapolis: Indiana University Press,Visibility 2004, p. 105-28; V. Osborne, “The p. 375-96;L.Conor, “TheMannequinintheCommodityScene”TheSpectacularModernWoman: Feminine Women: the1920sShopwindow MannequinandaPhysiognomyofEffacement,” ArtHistory,vol.20,no.3,1997, the Century: 100 Years of Art & Fashion, London: Hayward Gallery, 1998; T. Grönberg, “Beware the Beautiful Haven: Yale University Press, 1995;U.Lehmann,“StrippingHerBare: theMannequininSurrealism,” inAddressing L.Riotor, Lemannequin,Paris:BibliothèqueArtistique etLittéraire, 1900,p.96. A.Huyssen,AftertheGreat Divide:Modernism,MassCulture, Postmodernism,Bloomington:IndianaUniversity V. Steele,ParisFashion:ACulturalHistory,3rd edition,London:Bloomsbury, 2017;A.Rocamora,Fashioningthe InFrance,professional maleandfemalemodelsare stillcalledmannequins.Thefirstlivefashionshowswere C.Evans,“Masks,Mirrors, andMannequins:ElsaSchiaparelli andtheDecentered Subject,”FashionTheory,vol. “L’histoire du mannequin? C’est l’histoire de la femme elle-même, non pas celle de la nature, celle de nos goûts AttheSchoolofFashionwhere Iteach,theyare familiarlyknownas“Judies”and“Jimmies”forfemalemale W. Benjamin,TheArcades Project, Trans. H.EilandandK.McLaughlin,Cambridge,MA:Harvard UniversityPress, K. Miller, Doubles; StudiesinLiteraryHistory, Oxford: Oxford UniversityPress, 1985;S.Freud, TheUncanny,Trans. Ralph Pucci: The Art of the Mannequin, New York: Museum of Arts and Design, 2015. Lou Vital Mummies: Performance Design for the Shop Window Mannequin, New Mummies: Performance Design for the Shop Window Vital The StudyofDress History , Manchester: 38 VOLUME 1 Body Doubles: The Origins of the Fashion Mannequin 23 22 21 20 19 18 17 16 15 14 13 12 11 10 lifelike body. were usuallymadeofwood withmetalarticulations.Theywere paddedandcovered withfabrictoproduce a doubles?). Schwartz,p.112. body tomove,“MedievalKnightsintheoff seasonhungtheirsuitsofarmourupondummiescalleddobbles”(or Partners, p.26-9. p. 107;Munro, p.13. mannequin. Press, 2014. 2009. Chapter 3inTheSelfandIt:NovelObjectsEighteenth-CenturyEngland,Stanford: Stanford UniversityPress, Quarterly, vol.60,2007,p.94-130;J.Park,“AppearingNatural,BecomingStrange:TheSelfasMimeticObject,” Barbie, Oxford: Berg, 2004,p.17-9;Y.C. Croizat, “‘LivingDolls’:François1erDresses HisWomen,” Renaissance uncritically from MaxVon Boehn’s unfootnotedworkondollsinthe1920s,FashionDoll:from to BébéJumeau and NewYork: Routledge,2006,p.142-64. Ernst, ed.,HistoriesoftheNormalandAbnormal: SocialandCulturalHistoriesofNormsNormativity , London p. 883. Monarchy France(1830–1848),”FashionTheory, vol.9,no.2,2005,p.221. and HisFamily,Preston: HarrisMuseum and ArtGallery, 1983,cataloguenos.55&56,67. genre painterArthurDevis. PoliteSocietybyArthurDevis,1712–1787:PortraitsoftheEnglishCountryGentleman Theartist’s termlay-figure alsocomesfrom MiddleDutch,from leemanor“limb-man.”Theseearlymannequins Intriguingly, justas thefirstsuitsdeveloped from theneedforfitted,paddedunder-armour that allowedthe Foranexcellentsummaryoftheiruseinpaintingdrapery, seeMunro, “CastingStuffs: ‘AllPoetry,’” InSilent Schwartz,p.107;Munro, p.34-5. HillelSchwartzsuggeststhatMasaccio,oneofthefirstItalianpaintersto render realistic figures, mayhaveuseda NotablyJaneMunro, SilentPartners:ArtistandMannequinfrom FunctiontoFetish,NewHaven:Yale University Inherbookonfashiondolls,JulietPeersstatesthatmostofthesources onthehistoryoffashiondollsquote A.MatthewsDavid,“Madeto Measure? Tailoring andthe‘Normal’BodyinNineteenth-Century France,”inW. A.Hollander, SexandSuits,NewYork: Knopf,1994,p.89. R.Roslak,“Artisans,Consumers,andCorporeality inSignac’s ParisianInteriors,” ArtHistory,vol.29,no.5,2006, Seeforexample,C.Baudelaire, “Duchicetduponcif,”Salonde1846,p.163-4. H.Hahn,“FashionDiscoursesinFashionMagazinesand MadamedeGirardin’s Lettres ParisiennesinJuly- Munro, p.39. Objectslikethesewere valuable enoughtoberesold andthisonewaspurchased inthe1760sbyEnglish The Culture of the Copy: Striking Likenesses, Unreasonable Facsimiles, New York: Zone Books, 1996, 39 VOLUME 1 Body Doubles: The Origins of the Fashion Mannequin 35 34 33 32 31 30 29 28 27 26 25 24 peints pareux-mêmes,Paris:L.Curmer, 1841,p.244. et desgiletsd’ord’argent quiplaisentauxbeauxde Carpenteras.”R.deBeauvoir, “LeTailleur,” inLesFrançais robes dechambre ébouriffantes, dontlaplusgrande partieestensoiedeLyon, etqu’ilsvendentà très-haut prix; Eighteenth andEarlyNineteenthCenturies,”Oxford ArtJournal,vol.21,no.1,1998,p.49. see R.Wrigley, “BetweentheStreet andtheSalon:ParisianSignsSpacesofProfessionalism inthe tailleurs, septembre 1839,p.259. qu’ils essaieront surcemannequin qu’onpeutappelersanspareil.” M.Couanon,ed.,Journaldesmarchands- et s’assurer d’avance,par unmécanismeaussiingénieuxqu’immédiat,s’ilyauraounonpoignard àchaquepièce grande utilitéauxtailleurs,puisquec’estsurcettemécaniquequ’ilspourront essayertoutespèced’habillement, du commerce, del’industrie, delamagistrature etdel’administration,Paris,1900,p.1971-2. made-to-measure bustsin1900, includingStockmanandCharlesWeiss, at25ruedeBichat,Annuaire-almanach ou defemmes.n.p.Paris,1819,11-19;F. Chenoune,Desmodesetdeshommes,Paris:Flammarion,1993,p.44. personnes qui, sans l’aide d’aucun maître, veulent couper et confectionner toutes sortes de vêtements d’hommes Pratiques. Revued’histoire duvêtementetdelamode,“SpecialIssue,”vol.3,février2018,p.190. mode fashionablesparisiennes,Paris:ImprimerieCordier, 1erdécembre 1831,p.8. à l’ornement des magasins ou des salons les plus élégants.” qu’il enseigne.Cesbustesdontlaprécision etl’élégancesejoignentàl’utilitépourl’essai desvêtements,ajoutent faire exécuter, sur toutes sortes de tailles, des bustes d’homme dont la forme est proportionnée selon la méthode très-solide, aux prix les plus modérés. Le directeur s’empresse d’annoncer à MM.les Tailleurs qu’il se charge de p. 355. eds., ThinkingThrough Fashion , London:I.B.Tauris, 2016,p.271. future studiesofit.J.Entwistle, “BrunoLatour:Actor-Network TheoryandFashion”inA.RocamoraSmelik, “Lestailleursdespassagesont presque tousàleurporte unmannequinhabillé…ilsontdeplusqu’euxdes Hahnin“FashionDiscourses,”p.206.Formore onthehistoryofpaintedandsculpted street signsasadvertising, “Ilvientencore deparaître àParisunmannequin-mécaniqued’unenouvelleinvention;ilest,dit-on,très Charpy, p.194. Annuaire-almanach, p.1971-2. Whilethemass-produced mannequin becomesstandard, somemannequiniersadvertisedbothready-made and C.Beck,Noticeexplicativesurlecostumomètre etlelongimètre, instruments indispensablesauxtailleurset M.Charpy, “Adjustments:BodiesandClothinginStandard IndustrialSizesDuringthe19thCentury,” Modes I.Hacking,TheTaming ofChance,Cambridge:CambridgeUniversityPress, 1990. “Bustesd’hommeàl’usagedeMM.lesTailleurs, exécutésd’après unnouveauprocédé, etd’uneconstruction JaneBennett,“TheForce ofThings:StepsToward anEcologyofMatter,” PoliticalTheory, vol.32,no.3,2004, Entwistledoesnotmentionthemannequinspecificallybutthisavenueoftheorizationcouldbeproductive for Le Narcisse, album de l’élégant, revue générale des 40 VOLUME 1 Body Doubles: The Origins of the Fashion Mannequin Modern Masculinity:England,1550–1850,Berkeley, CA: BerkeleyUniversityPress, 2002. 2003, p.12-3. 49 48 46 45 44 43 42 41 40 39 38 37 36 47 Fournier, 1844, p.70. d’enseigne vivante.Laréclame s’estsimplifiéeenseperfectionnant.”J.J.Grandville,Unautre monde,Paris:H. Les tailleurs,leschapeliers,bottiers,modistes,onttrouvé lemoyendesupprimerl’hommequileurservait le brasàdescapotes;bottesmarchent crânementlechapeausurl’oreille: continuationdumêmesystème. fascination withbeautifulmenservingastailor’s models. but charmingyoungman”whoworksasamodelinthe1842story“Legiletdesanté”suggestthatthere wasa a noblebutimpoverishedmalefashionmodelwhomarrieswealthyMarquess, aswellthestoryofa“poor J.N. Barba,1826. called Paris: EsmodÉditions,2011. and thehistoryofSchool.Thecatalogue,byCatherineÖrmen, iscalledSagademode,170ansd’innovations, the school,whichwasstilltaughtbasedonhisprinciples.In 2011,ESMODcuratedanexhibitabouthisinventions his name.Inorder toaccesshistoricalmaterialonLavigne,theauthortookasummer patterndraftingcourseat currently hasbranchesfrom JapantoBrazil.In1847,hepatentedaflexiblemetrictapemeasure thatstillbears school thatisnowcalledESMODortheÉcoleSupérieure desArtsetTechniques delaMode,aninstitutionthat playwright, heworkedforadraperinParis. did notcomefrom a wealthyfamilyandknewtheindustryfrom theinside—before hebecameajournalistand “Quevois-jesurlachaussée?Desbrodequins quesepromènent, descannesquiportenthautlatêteendonnant Whilethismannequinisasubjectofridicule,sources likeLouiseBury’s 1844story“L’homme-mannequin” about RochefortinLetailleur,p.6. RochefortetGeorges Duval, Letailleurdesbossus,oul’orthopédie,contrefaçonParis: en1acteetvaudeville, C. Breward, Finn,p.154. “Men’s Things:MasculinePossessionintheConsumerRevolution.”SocialHistory,vol.25,no.2,2000,p.135. M.Marrinan,RomanticParis:HistoriesofaCulturalLandscape,Stanford: Stanford UniversityPress, 2009,p.282. H.deBalzac,Illusionsperdues, vol.5,Paris:Pléiade,1837,p.194. In1841,attheageof23,hepublishedfirstmanyeditions ofhiscuttingmanualandfoundedtheprofessional AdornedinDreams: FashionandModernity, E.Wilson, 2 A.Luchet,L’art industrielàl’expositionuniversellede1867,Paris:LibrairieInternationale,1868,p.379.Luchet K.Marx,Capital,London:PenguinClassics,p.165. Exposition nationaledesproduits del’industriefrançaise , n.p.Paris,1849.HazelHahn cites an1849vaudeville Un déluged’inventions,revue del’expositionl’industrie “inwhichamechanicalwoman isinventedasa The Suit, London: Reaktion, 2016, p. 17. See also D. Kuchta’s classic text nd edition,NewBrunswick:RutgersUniversityPress, The Three-Piece Suit and 41 VOLUME 1 Body Doubles: The Origins of the Fashion Mannequin 61 60 59 58 57 56 55 54 53 52 51 50 Century, NewYork: PalgraveMacmillan,2009,p.115. at theindustrialexhibition.H.Hahn,ScenesofParisianModernity:Culture andConsumptionintheNineteenth new mannequin.”Lavigneadvertisedmannequinsfortailors,butthevaudevillefeminizedbodiesondisplay Specific couture dresses were oftengivenfemininefirstnameslike“Mireille.” C.Evans,MechanicalSmile,p.15. Paquin were “renamed” withonefirst,andoftenexoticizedname,aswere prostitutes uponenteringabrothel. respectability. Actresses like “Polaire” often went by one name, live mannequins entering couture houses like using onlyafirstnametodesignatewoman removed herfrom herfamilytiesandoftenfrom theworldof Ontology oftheFashionModel,”p.63. but thesefigures were rare. Munro, p.38-9. mannequin inthe1770s,andafixedpaintedwoodversiondressed ina robe àlafrançaisesurvivesfrom the1760s, Munro hasunearthedevidence thataParisianluxuryboutique,“AuMagnifique,”usedlife-sizedfemaledisplay considérable demannequins grandeur nature ethabillés desestoilettes,àseulefinleuréviterdesfauxplis.” C. Örmen,Sagademode,p.40. Textile History,vol.34,no.2,2003,p.137. de sport,Paris:C.MarponetE.Flammarion,1885,p.141. Hédouville, ed., La femme à cheval, Paris: P. Ollendorff, 1884, p. 5; Baron Charles-Mauricede Vaux, Les femmes while theBaron deVaux de saysthat the amazoneisbeauty molded inadarkbodysuit. H. dePène,inVicomte de Paris,chezl’auteur, Paris, 1868,p.11. fashion-journal desmodes,guideélégants,n.p.Paris,1845,p.523;F. Sourd, Lanouvellegrève destailleurs eds., Arnold, “Dashing Amazons: the Development of Women’s Dress, c. 1500–1900,” in A. de la Haye and E. Wilson, Tailoring, Technology and SocialIdentityinNineteenth-Century Paris, PhD.Dissertation,August2002,p.178;J. SeeparticularlyChapter1,“Pre-History: Nineteenth-CenturyFashionModelling.”Bytheearly20thcentury, RiotorinLemannequin,p.86. Jean-PhilippeWorth, ACenturyofFashion , Boston:Little,Brown, and Company, 1928,p.10.andC.Evans,“The High-endmilliners’boutiquesfeatured headswithfacesfordisplayinghatsbuttheylackedbodies.Jane NicoleParrot, Mannequins,Paris:ÉditionsColona,1981,p.35. A.Guillerme,Lanaissance de l’industrieàParis:entre sueursetvapeurs:1780–1830,Paris:ChampVallon, 2007. “La mode était à tel point le pivot de ses préoccupations qu’elle avait fait installer aux Tuileries un nombre G.Bouchet,LechevalàParisde1850–1914 , Genève:LibrairieDroz S.A.,1993,p.252. X.Chaumette,C.Fauque,andE.Montet,Letailleur, vêtement-message,Paris:Syros-Alternatives, 1992,p.76; W. Aldrich,“TheImpactofFashiononthe CuttingPracticesfortheWoman’s Tailored Jacket,1800–1927,” de Hédouville compares For example, the Vicomte the amazone to a statue the couturier has cast after nature, A.MatthewsDavid,“AmazonChic:Women’s Tailoring inNineteenth-CenturyFrance,”CuttingaFigure: Defining Dress: Dress asObject,MeaningandIdentity,Manchester:ManchesterUniversityPress, 1999;La 42 VOLUME 1 Body Doubles: The Origins of the Fashion Mannequin 74 73 72 71 70 69 68 67 66 65 64 63 62 Anny Latour, Lesmagiciensdelamode,Paris:R.Julliard, 1961,p.131. Delmonico Books,2010,p.96. mesure dutourdepoitrine-dit l’amazone.”RiotorinLemannequin,p.78. universelle internationalede1889àParis,Paris:ImprimerieNationale,1889,p.17. siegel-stockman.com/. Rue Legendre. Stockmancontinues tomanufacture mannequinsinafactorythesuburbsofParis:http://www. opened shopduringtheSecondEmpire. headquarters for their mannequinbusiness was located at 15, rue de Richelieu, the same locale where her father forte.” Shenotesthatthesize42mannequinismostuseful. 38, whichcanbeusedforgirlsover14yearsoldorthinyoungwomen,tosize50,issimplycalled“Taille Alice Guerre-Lavigne, L’art danslecostume,Paris,décembre 1885,p. 14;shegoesontodescribethesizes,from toutes uneouplusieurssériesdemannequinsdepuislataillepluspetite(38)jusqu’àforte(50)…” tailleurs, couturières etapprentis desdeuxprofessions, chezl’auteur, Paris,1868. write thestorythatwouldbe paired withTissot’s, p.169. Demoiselle.Wentworth inJamesTissot , Oxford:125-6; M.Wentworth, Oxford JamesTissot UniversityPress, 1984,p.154-73. Love: Prostitution inFrench ArtoftheImpressionist Era,NewHavenandLondon:Yale UniversityPress, 1991,p. ed., London: Yale UniversityPress, 1999;E.Prelinger, asSymbolistandFetishist?ASurmise,”inK.Lochnan, “Tissot , NewHavenand and theMakingofModernWoman,” inK.Lochnan,ed.,SeductiveSurfaces:TheArtofTissot S.SadakoTakeda andK.DurlandSpilker, FashioningFashion:European Dress inDetail1700–1915,Munich: “Oui,désormaislemannequinestentré danslesmoeurs.—‘J’aiun42,44’cenuméro quiindiquelademi- A.Guerre-Lavigne, L’art danslecostume,Paris,décembre 1885,p.15. RiotorinLemannequin,p.96. G.A.Godillot,“Classe56matérieletprocédés delacouture etlaconfectiondesvêtements,”Exposition In1894hiscatalogueoffers femalebustsin12standardized sizes.BustesetMannequinsF. Stockman,Paris, Thesesoldfortherelatively inexpensivepriceof16francsplus4postage,andalarge adstatesthatthe “Ce qui fait la supériorité des couturières parisiennes, c’est que leur outillage ne laisse rien à désirer. Elles ont Örmen,Saga,p.93. Aldrich in “CuttingPractices,” p. 144. These included Lavigne’s Méthodedecoupepourdamesàl’usage des RiotorinLemannequin,p.94;Örmen,Saga42. Theimagesfrom Tissot’s serieswere tobeaccompaniedbytextswrittendifferent authors.EmileZolawasto Tissot’s work hasreceived agreat dealofcriticalattention.See T. Garb,“Paintingthe‘Parisienne’:JamesTissot , NewHavenandLondon:YaleSeductive Surfaces:TheArtofTissot UniversityPress, 1999;H.Clayson,Painted 43 VOLUME 1 Body Doubles: The Origins of the Fashion Mannequin 84 83 80 79 78 77 76 75 would represent myactualstature ratherthanthatofthetall,elongatedfashionmodeltoday. 2003, p.163-88. century fashion,seeC.Evans,“Deathliness,”Chapter7ofFashionattheEdge , NewHaven:Yale UniversityPress, amongst others.Formore ontheuncanny, thedoll,andmannequinspecificallyin relationship totwentieth- Atget, andascreative muse fortheartworksofGiorgio deChirico,MaxErnst,HansBellmer, andMarcel Duchamp, 82 W. Benjamin,TheArcades Project, B.Hanssen,ed.,London:Continuum,2006,p.106. bouffie deson,avecunnuméro gribouilléàl’encre, àlaplacedesoncoeur.” Heppin“Lemannequin,”p.231. Louvre, duBonMarché, duPrintemps,auxdevantures aucoindesrues,surles trottoirs, avecsacarcasse grise c’est le Mannequin. Le Mannequin, cette hideuse machine à forme humaine, qui se dresse le long des salles du 81 “Cequiatuélesfroufrous del’été,sapimpanteallure etsagrâce,cequimenacetout entierl’artdelamode, s’est écrié:Mannequindesmannequins,ettoutn’estquemannequin!”GrandvilleinUnautre monde , p.70. la personne? On ne va là que pour voir des habits. C’est en songeant aux solennités de la mode, que le prophète la beauté,leluxeouréputation delapersonne,estaurendez-vous; elleseuleestabsente.Aquoibondureste plâtre, en bois ou en cire. On fait de l’élégance en effigie. Robes,coiffures, écharpes,diamants,toutce qui résume Silhouette, Paris:Aubert,11février1830,p.44. dans lessalonsoùilssontdésirés.” “Lesfashionables,parbrevet d’importationetdeperfectionnement,”La tous les jours, sansrétribution, de trois à quatre heures, aujardin des Tuileries…Les fashionablessetransportent petites machines,modeléessurletypedelabeautéidéale,sontd’uneperfectionsurprenante.…On peutlesvoir Press, 1996,p.202. Asawomanofrelatively modestheight,Ilovethefactthata“full-sized”versionof double thisheight(160cm) Schwartz,p.118.Themannequinservesthisrole inthewritingsofWalter Benjamin,thephotographsofEugène “Ilparaîtquedanscepayslamodeestdesefaire représenter danslespromenades publiquespardesSosiesen “Lesfashionables,poupéesàressort, quiboivent,mangentetagissentcommedespersonnesnaturelles. Ces Park,p.105. J.Munro, SilentPartners,p.176-8. J.Coffin, ThePoliticsofWomen’s Work: TheParisGarmentTrades,, Princeton:PrincetonUniversity 1750–1914 A.Hepp,“Lemannequin,”inParistoutnu,Paris:E.Dentu,1885,p.232-3. 44 VOLUME 1 Body Doubles: The Origins of the Fashion Mannequin Author Biography Matthews David Alison NoDerivs 3.0Unported(CCBY-NC-ND 4.0)license(see: Creative CommonsAttribution-NonCommercial- Copyright © 2018 Fashion Studies - All Rights Reserved as weapon,evidence,anddisguise. Fashion, investigatesthethemeofcrime andclothing project, historical sleuthingandhercurrent bookandexhibition 2014–April 2018).Thatresearch ledhertocontinue Semmelhack attheBataShoeMuseuminToronto (June of a co-curated exhibition with Senior Curator Elizabeth Bloomsbury Academicin2015andalsotooktheform entanglement andfire. Thebookwaspublishedby chemical toxins,andcausingaccidents,including wearers bytransmittingcontagiousdisease,leaching clothing physicallyharmedthehealthofitsmakersand recent research project,, lookedathow FashionVictims journal and materialculture, and co-edits thenewopen-access has published extensively on nineteenth-century dress She wasawarded adoctorate from Stanford University, in theSchoolofFashion,RyersonUniversity. Dr. AlisonMatthews DavidisanAssociateProfessor RYERSON UNIVERSITY https://creativecommons.org/licenses/by-nc-nd/3.0/)

Fashion Studies with Dr. Ben Barry. Her most Unravelling Crime:AForensic Historyof 45