Body Doubles: the Origins of the Fashion Mannequin

ISSUE 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, Issue 1, Article 7 - 2018 Body Doubles: The Origins of the Fashion Mannequin Contextual Introduction 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” 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 reflecting ontheprocess ofworkingonthemannequin, “Body Doubles” was originally a chapter of my doctoral “Body Doubles”wasoriginallyachapterofmydoctoral mannequin in French literary sources (in the relative 2 Volume 1, Issue 1, Article 7 - 2018 Body Doubles: The Origins of the Fashion Mannequin 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 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 Consumer Fashion. Iwishtoexpress mygratitudetohim—hisbookonthe present “BodyDoubles” at aconference attheLondonCollegeof first job.Professor Christopher Breward encouragedmeto Fashion Theory was a lifeline during my doctoral work. At that wasalifelineduringmydoctoralwork.Atthat in 1997, just as I was writing my dissertation in1997,justasIwaswritingmydissertation 3 Volume 1, Issue 1, Article 7 - 2018 Body Doubles: The Origins of the Fashion Mannequin “Mannequin ofmannequins, and allisbutmannequin!” Un autre monde – J.JGrandville, the screens ofsocialmediafeeds. emaciated figure who struts across the catwalk and scrolls down used todesignatethelivefashionmodel,thatidealizedand often 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, theFrench word English language has specific terms to differentiate between bodies, quicklyadoptedtheseuseful their art.Tailors andthendressmakers, whoalsorequired docile these pliableandplianttoolscalled own life-sized,often jointed “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 “true fairies”ofthearcades. Parisian dollsenchantedWalter Benjamin,whocalledthemthe , 1844 2 Finally, theword 1 Inthenineteenthcentury, theartisans mannequins mannequin mannequins mannequin was and is still wasandisstill in service of inserviceof . While the . Whilethe designates designates 4 Volume 1, Issue 1, Article 7 - 2018 Body Doubles: The Origins of the Fashion Mannequin blurs theboundariesbetweendeathandlife, animate andinanimatebodiessuggests,the female andmale,continuestopopulate As theuseofoneword forthesemultiple French the spacesoflabourandcommerce. mannequin (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 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 isashape-shifter, who 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, Issue 1, Article 7 - 2018 Body Doubles: The Origins of the Fashion Mannequin as the1820sandevenmore commonlyduringtheJulyMonarchy mannequins appeared before theirfemalecounterparts.Asearly contrary toestablishedfashionhistorynarratives,Iargue thatmale of howfashionenvisionedandreified normativebodies.Infact, demonstrating thatmalemannequinsare keytoourunderstanding consumption ofmasculinities. troubling andcomplexsiteforthelessvisibleproduction and time toshiftourfocustheearliermalemannequinasan equally during thesecondhalfofnineteenthcentury. proposes ageneralfeminizationofthecommodityinmassculture sectors, butexemplifyAndreas Huyssen’s theoretical model,which part, theyare related tochangesinthegarmentindustryandretail 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’ and stiff, paintedshopwindow dummies.Asbothartifactsandlive dandy-for-hire inthefleshwasjoinedby inanimatetailors’forms to thestylishmenhired bytailorstoadvertisetheirwares. (1830–48), thesomewhatderogatory term mannequins 9 enforced sartorialideals mannequin 8 Itistherefore was given wasgiven 6 This This 7 In In 6 Volume 1, Issue 1, Article 7 - 2018 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. Middle Dutch, tools” inartisticpractice. early fifteenth century, mannequinsare documentedas“common 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 survives in the collections of the Museum of London. an elitemaleandworking-classfemalewardrobe (ca.1750–62) the 1740sbyFrench sculptorRoubiliacandaccompaniedby objects stillexist,butasmall-scalemannequinhand-crafted in articulated mannequinswere fairlywidespread. française and by the eve of the French Revolution, life-sized, these bodydoublesare difficult todocument. 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 mannekijn 12 or“littleman.” 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, Issue 1, Article 7 - 2018 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, FIGURE 1 Articulated Artist’s Lay-Figure , Front andBack 8 Volume 1, Issue 1, Article 7 - 2018 Body Doubles: The Origins of the Fashion Mannequin Mannequin Chic? relocation from thepainter’s studiotothetailor’s workshop. full-scale mannequins, but the nineteenth century saw thisobject’s to comeinforlengthyposingsessions.Artistscontinueduse costly livemodelsorwealthysitters,obviatingtheneedforclients faces. with silkcloth“flesh”coveringsand realistic paintedpapier-mâché sized, articulatedpadded French had become the most prominent makers of luxury, life- 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 piece, and“suppliedthefewwithluxury.” their canvasesforsaleintheopenmarketplace,”were paidbythe common. AsRobynRoslakargues, manyParisianartists“produced 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, overlapped inearlynineteenth-centuryParis. is notclear, the eliteworlds of art,literature, andfashion constantly moment andmeansofthistransitionfrom artist’s totailor’s make andsellclothingstartinginthelate1820s.Whileexact dummy are difficult totrace,buttailorsseemhaveuseditboth As withthelay-figure, the exactoriginsofthemannequinastailor’s 18 Thesethree-dimensional, poseablebodiescouldreplace 20 The marketing of fashion and art had much in Themarketingoffashionandarthadmuchin mannequins perfectionnés 21 The nineteenth century Thenineteenthcentury 19 Artists like Horace ArtistslikeHorace , complete , complete atelier 9

Volume 1, Issue 1, Article 7 - 2018 Body Doubles: The Origins of the Fashion Mannequin several fittingsessions. 23 of papertomarkthebodilydimensionseachindividualclient. reserved for expensive cloth; tailors simply cut notches in pieces precision. Inprevious centuries,exactmeasurement hadbeen in wool,” 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” metre (1839). corsage mécanique produced instrumentslike Beck’s and theirpublicationofnewgeometriccuttingmethods.They with eachotherintheirpatentingofmeasuringapparatuses During thefirsthalfofnineteenthcentury, mastertailorsvied mathematical turn influenced tailoring systems and practices. in “industrialsizes,”ManuelCharpydescribeshowquicklythis on standardizing nineteenth-century French bodiesandclothing 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 highly regionalized, and aristocratic AncienRégimesystemthat or The final garment was then adjusted on the client’s body during mètre révolutionnaire 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 (1829),andDelas’ attempted to replace the bodycentric, pouces costumomètre 24 In hiscomprehensive article orthumbs(inchesinthe somatomètre (1819),Sylvestre’s orbody- 10 25

Volume 1, Issue 1, Article 7 - 2018 Body Doubles: The Origins of the Fashion Mannequin In theartworld,mannequinshelpedartists bodies oftheirsittersontotheflat,two- translate thethree-dimensional, clothed dimensional surfaceofthecanvas. artists. continued tomarketandsellboththegarmentindustry lists severalmanufacturers, includingStockmanandMerle,who 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 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 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 , orready-made clothingentrepreneur. Thesemen 27 Yet the1900 directory ofParisiancommerce 29 11 Volume 1, Issue 1, Article 7 - 2018 Body Doubles: The Origins of the Fashion Mannequin A tailor’s dummyintheworkshop FIGURE 2 Cabinet desEstampes,Bibliothèque NationaledeFrance. , ca.1826–9.Penandink.Paris: 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, Issue 1, Article 7 - 2018 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, whichcouldnotadequately reproduce the the actual usefulness ofthe stiff, abstracted, “mechanical” body professional journalslikethisoneprovide ambivalentaccountsof 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 called his workbench,hunchedoverinatraditionalcross-legged position over them,plieshisneedle,pad-stitchinglapels.Thistailorsitson knees are mostlyconcealedunderthestillsleevelessjacketdraped out clothfrom oneofthesebolts,whilehiscompanion,whose one large windowontheleft.Thestandingtailorrightcuts advent of“another”tailor’s dummy: 48). In1839,the 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, 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 en tailleur 30 Journal desMarchands-Tailleurs inFrench. Bothtailorsare stylishlydressed and announced the announcedthe 13 Volume 1, Issue 1, Article 7 - 2018 Body Doubles: The Origins of the Fashion Mannequin New Actors As the 1820s dummy “supervising” workers and the “spring 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“isthatwhich 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 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 31 ANT, whichoriginallyusedanethnographic does something,hassufficient coherence 32 The The 14 Volume 1, Issue 1, Article 7 - 2018 Body Doubles: The Origins of the Fashion Mannequin Narcissistic Mannequins longer present, norare theyinvolvedinthe heralds ashiftintheembodied,physical, intimate dialoguethatwasnecessaryto The mastertailorandhisclientare no This omissionmayseemminor, butit and emotionalrelationship between produce anelegantsuitofclothes. maker andclient. in asimple,headlesstailor’s block. conjuring alifelikenessthatwould beanunnecessaryextravagance extra francs,themakercouldaddanenameledheadand eyes, material focusesontheirsuitabilityasdisplaymannequins: forsix “trying ongarments”or“decorating”boutiques,themarketing boutiques.” on garments,addtothedecorationofmostelegantsalons or precision andeleganceiscombinedwiththeirusefulnessfortrying use oftailors,executedusinganewprocess… Thesebusts,whose advertised torsoswithlifelikeheadsin1831:“Men’s bustsforthe century. Amen’s fashionjournalappropriately named display arose inparallelduringthefirstdecadesofnineteenth The tailor’s “block”ordummyanditsbrother produced forretail and ill-fittingenvironmentally deleteriousfastfashion. us anoften-bitterlegacyofalienatedlabour, unhappyconsumers, It enabledthemass-production ofgarments,whichhasbequeathed 33 While these busts are sold interchangeably for either

Le Narcisse

15 Volume 1, Issue 1, Article 7 - 2018 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 Le Narcisse 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 leansover to hisfriendand asks dismissively:“whois that readymade outfitpurchased onthe RuedeRichelieu. Tellingly, the hero isinsultedbyatruedandywhenheappearsattheOpérain beaux. silk, aswellflashygoldandsilverwaistcoatstoseduceprovincial door” andsell“stunning”dressing gownsmadeofexpensiveLyons all thetailorsin observed scornfullythatinorder topaytheirhighrents “Almost In his Le Narcisse Unlike theartist’s mannequinortailor’s dummy, whichwas Physiologie dutailleur 35 36 InHonoréBalzac’s de 1843novel Thesetailor’s shopsinthearcades were apartofParis’ suggeststhetwo-dimensional fashionplate’s role in 37 Whenlitbyflickeringgaslight,thesepyrotechnics 34 advertisedmen’s clothinginincreasingly lavish atelier passages , shop window mannequins like the ones (1841), the dandy Roger de Beauvoir (1841),thedandyRogerdeBeauvoir displayadressed mannequin atthe Illusions perdues , the , the 16 Volume 1, Issue 1, Article 7 - 2018 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. 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 quantification and restraint. was oneofthefinalphasesthistrend towards masculine geometrically tailored suitsand theiraccompanyingmannequins and newlyemancipatedcapitalists.” onwards as“anappropriate badge”ofboth“reformed aristocrats explored theadventof sobersuitfrom seventeenthcentury masculinities.” was replaced bymore “calculative,rational,andregulated masculinity thatwasnotpremised uponrationalcalculation the eighteenthcentury. other geographicallocalesduringtheconsumerrevolution of including thoseaimedatmaleshoppers,existedearlierandin This blurringbetweenanimateandinanimatebodiespoints 39 BothDavidKuchtaandChristopherBreward have 38 InEngland,anEarlyModern“gentry” 40 Theadventofstandardized, 17 Volume 1, Issue 1, Article 7 - 2018 Body Doubles: The Origins of the Fashion Mannequin 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 the tailored bodyasitnavigatedpublicandcommercial spaces. awareness ofthepotentialforvisualandsexualobjectification of dress, behaviour, and consumption, there was a growing Alongside theregulation andrationalizationofmasculinecodes representations byanimatingtheseanthropomorphic objects[3]: new advertisingpracticeofdisplayingreal garmentsonfigurative paralleled contemporaryParisiansociety. Grandvillecritiquedthe volume from the1820sthrough the1840s. July Monarchy suggests that this was at least a small-scale practice of sources describingthe male 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, Like artist’s models,called address, andsendatailor’s employeetotakehismeasurements. new clients.Hewouldthennamehistailor, notetheclient’s des Tuileries, his dress and demeanour were meant to attract catalogue.” [ model, faithfulmirror, Isparklewithlightandfire! Iwander vogue A vaudevillefrom 1826, In 1844, Jean-Jacques Grandville published the illustrated 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, ] everywhere, settingthe vogue,forthenewlooksin ” thefashionmodelhadtobephysicallyattractive Another World 42 satirizestheprofession ofmalefashionmodelling. Instructed to stroll in public parks like the Jardin , asatiricalvoyagethrough auniversethat 44 modèles Orthopaedics, ortheTailor for mannequin demode 43 orsometimes“ mannequins duringthe 18 41 Volume 1, Issue 1, Article 7 - 2018 Body Doubles: The Origins of the Fashion Mannequin 1844. Paris:H.Fournier. Courtesy ofToronto PublicLibrary. Un voyaged’avril FIGURE 3 , from Jean-JacquesGrandville, Un autre monde , 19 Volume 1, Issue 1, Article 7 - 2018 Body Doubles: The Origins of the Fashion Mannequin intimate, tactileinteractionswithclients,employedlivemodels It wouldseemthatbythe1840s,sometailors,whooncehad were reified and replaced by relationships betweenobjects. Karl Marxlaterdenouncedin 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 the genderingandproliferation ofmannequins. garment and mannequin industries illustrates an important shift in of industrialproduction aswell. century sawParistransformedintoanincreasingly importantsite Andre Guillermeremind us,thefinaldecadesofeighteenth the Beaux-Arts and the luxury trades, but as urban historians like Exhibition in Paris. awarded amedalforhis“buststailors”atthetenthIndustrial Lavigne, whodubbedhimselfa“ 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 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 the absoluteandindifferent uniform.” eighty! Ahundred vestimentary factoriesare leadingustowards relationship withhistailor: “Oneisnolongeraclient,onesize dehumanizing effect ofthisnewregime andthelossofhispersonal 1860s, maleplaywrightslikeAugusteLuchetwere lamentingthe and thensubstitutedthemwithshopwindowdummies.Bythe Despite Luchet’s perceptions thathewasanumberrather 49 Paris had long been famous as a centre for 50 Capital Lavigne’s career trajectoryinthe tailleur-mannequinier 46 Asthetrouser suitbecame , whereby socialrelations 48 In 1849, ,” was 47 20 45 Volume 1, Issue 1, Article 7 - 2018 Body Doubles: The Origins of the Fashion Mannequin Sex Changes:TheFemaleMannequin fabrics andbrought them totheirdressmakers formaking-up weavers ortinsmiths. structures fashionedfrom wickerorwire andmadebybasket more lifelikemaledisplay mannequin,theywere oftenschematic 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 the femalemannequinandher conflationwiththeprostitutea 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 ofthese basing theirproducts on caststakendirectly from theelegant parades garments andstagingearlyfashionshows,called 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 calleda whole lengthsofclothorshawlsforeffect. Thelivefashionmodel, of thecenturywassomewhatrudimentaryandbasedondraping mannequins, some AncienRégimeParisianboutiqueswithfemaledisplay rather thanbuyingthemreadymade. After the elite luxuryof . By1900,Riotorclaimedthatmannequinmakerswere 53 52 Other couturiers seem to have quietly adopted Othercouturiersseemtohavequietlyadopted retail displayforwomen’s clothinginthefirsthalf demoiselle-mannequin filles-mannequins 51 55 Middleandupper-class womenpurchased , thus conflating the bodies of , thusconflatingthebodiesof todistinguishherfrom her 54 The turn of the Theturnofthe The Mechanical mannequin- 21 Volume 1, Issue 1, Article 7 - 2018 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. and totheEmpress herself. appointed passionately loved both riding and fashion. The Empress, whohadapersonalstableofsometwentyhorses, 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”. using scaledpatternsystemsforcuttingwomen’s jacketpatterns. half ofthe1850sasperiodwhentailorsstartsystematically Aldrichcitesthesecond existed inthetailoringtrade.Winnifred feminized the techniques of geometric abstraction that had long curves ofthefemalebody. decorations, fabrics,orcoloursandsculpturally molded the beauty oftheridinghabitrelied onfitratherthanfeminine called an 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 Amazone amazonier inFrench, tookonanewimportance. The 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, Issue 1, Article 7 - 2018 Body Doubles: The Origins of the Fashion Mannequin Estampes, BibliothèqueNationale deFrance. and Custom-madeBusts, Alexis Lavigne, FIGURE 4 SalesProspectus forRidingHabits ca. 1868.Paris:Cabinetdes customized ridinghabits.Theimagedepictsthehorsewoman’s trade inwomen’s bustsintersectedwithhisexpertiseinmaking de l’Habillement prospectus forthesebustsfrom Lavigne’s publication de Richelieu,thecentre ofthetailoringtradeinParis.Asales dresses. Lavigne’s customizedbuststoavoidwrinkleswhenstoringher and marketingstrategies.TheEmpress herselfownedseveralof measure bustsbecameanimportantpartofLavigne’s business Along withthe 61 Bythistimehehadmovedupthestreet to15,rue (1868)[4]illustrateshowthisaspectofhisearly costumes amazones headvertised,made-to- Journal 23 Volume 1, Issue 1, Article 7 - 2018 Body Doubles: The Origins of the Fashion Mannequin ready tobedressed indifferent garments.Betweenthemsits the women in Lavigne’s advertisement resemble mannequins, 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 metamorphosis intomannequinandthenwomanoffashion.On sculptor turned mannequin-maker, launchedhisowncompanyin for theseinvaluableobjects.In 1869Frédéric Stockman, aBelgian 50 formatrons. dress forms,from size38forslenderyoungwomenorgirlsto self-promotion andadvertisesaseriesofsevenscaledLavigne the Parisiancouturiere to“settheline”offashion,itisalso blatant of mannequins. derived theirsuperiorityfrom thefactthattheyhadacompleteset In theinauguralissuesheproclaimed thatParisianseamstresses costume husband publishedaprofessional journalentitled instructional tools.From 1885toherdeathin1924,sheand then bywomen,andherlessonsusedmannequinsas basic father’s footstepsasateacheroftailoring techniquesforand to female dressmakers. 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 Although thisprospectus isaimedatawealthyfemale , andshewrote formanyotherfashionpublications. 62 With theirblankexpressions andidenticalfeatures,With 66 65 Competitorsalsoentered theexpandingmarket WhiletheFrench journalcelebratestheabilityof 63 Alice Guerre-Lavigne followed in her amazone wearsariding habit. Abust L’Art dansle 24 64 Volume 1, Issue 1, Article 7 - 2018 Body Doubles: The Origins of the Fashion Mannequin to usinthetwenty-firstcentury—novel fact thattheirbodysizecorresponded toa They began to internalize asystemfamiliarThey begantointernalize numeric measurement. city where one could purchase busts, increasing international complained in1885thatwhileParishadformerlybeentheonly 1867 soldforamere 12 francsin1900. substantial reduction intheir cost:abustthatcost45francsin almost obligatoryaccessorytothesewingmachine.” “there ishardly ahomemakerwhodoesnothave herbust,the describing theproducts ofthe1889ParisWorld’s Fairnotedthat studios ofprofessional andhomedressmakers. One commentator tools ofthetradeandtookupresidence inthehomesand the 1880sthesemutebodydoubleshadbecomeindispensable Paris andtrulyindustrializedtheprocess oftheirproduction. psychological impactonfemaleconsumers. of bothmass-produced mannequins andjacketssoonhada been subjecttothetyrannyofstandardized sizes,theproliferation “stealing this product.” competition wascomingfrom GermanyandAmerica,whowere 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 bust!—saysamazon.” am a42,44’—thatnumberwhichindicatesthehalf-measure of “Yes, nowadaysthemannequinhasentered intoourmores. —‘I 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, Issue 1, Article 7 - 2018 Body Doubles: The Origins of the Fashion Mannequin http://collections.vam.ac.uk/item/O117701/ Brown andAlbertMuseum. woolandsilk.London:Victoria Madame Cridon, above(available atthe URL) FIGURE 5 Day Dress withfittedbodiceanddrapedskirt, dress-tridou-madame/ 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 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 1885. 72 The corseted, contained shape of the Thecorseted,containedshapeofthe . 26 Volume 1, Issue 1, Article 7 - 2018 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 famously describedthe 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 The Shopgir l ( La demoiselledemagasin , setinthelate1860s,butJamesTissot’s étalage of mannequins in the 1883 novel ofmannequinsinthe1883novel ), painted between ), paintedbetween 73 In the 27 Volume 1, Issue 1, Article 7 - 2018 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, FIGURE 6 La Demoiselledemagasin, c. 1883–5. 28 Volume 1, Issue 1, Article 7 - 2018 Body Doubles: The Origins of the Fashion Mannequin front respectively, astandard deviceinfashion-plateiconography. and couldeasilybethesamebodyseenfrom theside,back,and girls andthedummy. Theirbustsare identicalinshapeandsize, 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 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, Issue 1, Article 7 - 2018 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 of1830inthejournal 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 La Silhouette 30 Volume 1, Issue 1, Article 7 - 2018 Body Doubles: The Origins of the Fashion Mannequin Bibliothèque NationaledeFrance. February 11th,1830.Paris:Cabinet desEstampes, Charles Philipon,“Lesfashionables,” from FIGURE 7 La Silhouette , 31 Volume 1, Issue 1, Article 7 - 2018 Body Doubles: The Origins of the Fashion Mannequin but smaller-scale imitationsofthemselves: hairstyles, andgigotsleeves.Thecouplehasspawnednotchildren doll. Ofequalheight,theyhavethesamecinchedwaists,overdone wealthy replaced byplaster, wood,orwax 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 on horsebackandincarriagestoshowoff the takes up this theme. Longchamps was a racetrack in Paris where deep. with thefearthatinmoderncity, beautymightonlybecloth- Dressed mannequinsand fashiondollstauntedcontemporaries In achapterentitled“JustlikeLongchamps,”Grandville 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, installed inanyparlourwhere they are desired. without payinganentrancefee…Fashionablescanbe Mannequin ofmannequins, and allisbutmannequin! the solemnitiesoffashion,thatprophet criedout: goes there tolookattheclothes.Itwaswhilepondering And indeedwhatgoodistherest oftheperson?Oneonly of plaster, woodorwax.Eleganceiscreated ineffigy… in publicpromenades bybodydoubles( that inthiscountrythefashionistohaveoneselfreplaced most studiedeleganceandthegreatest luxury. Itseems In someofthem,there are mannequinsdressed withthe I canonlycatchglimpsesofwigsorhatsonwoodenheads. Try asImighttopeerpasttheblindsofcarriagewindows, sosies orbodydoubles: sosies ) made out ) madeout 79 80 32 Volume 1, Issue 1, Article 7 - 2018 Body Doubles: The Origins of the Fashion Mannequin Public Library. autre monde Comme àLongchamps FIGURE 8 , 1844.Paris:H.Fournier. CourtesyToronto from Jean-JacquesGrandville, Un Un 33 Volume 1, Issue 1, Article 7 - 2018 Body Doubles: The Origins of the Fashion Mannequin and sellthefashionable facadesthatwere mannequin asoullessmanifestation ofthe While malecriticsofcapitalismsawinthe a necessaryifcontested partoflivingin helped tailorsanddressmakers produce commodity fetish,asa functionaltoolit modern cities. modern Paris: Paris: commodification ofthefashionablefemalebodyinfin-de-siècle store mannequininthe1880sechoestropes surrounding the mannequin itself.Alexandre Hepp’s vilificationofthedepartment cultural critiquemetamorphosesalongwiththefeminizationof luxuriously appointedcarriages,thegenderdynamicofthis and womenwhoposestylishlyastheyare drivenalongintheir While Grandville’s satire isaimedattheidlerich,immobilemen contrast withitsdisparagementofthemannequinusedtosellit. mannequin asfunctionaltoolformakingclothingstandsinstark The nineteenthcentury’s swiftadoptionandacceptanceofthe The Mannequin has killed summer’s froufrous, its 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 81 34 Volume 1, Issue 1, Article 7 - 2018 Body Doubles: The Origins of the Fashion Mannequin 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 newobjectsfor women indifferent butnolessinnovative female designersanddressmakers continuedtoemployherbody traumatized herprefabricated body as aspur for theircreativity, Yet whilemale writersandartistseroticized andreconfigured, even generation ofwriters,philosophers,photographers,andpainters. became whatHillelSchwartzcallsthe“enablingfiction”foranew half ofthetwentiethcentury, theeroticized femalemannequin as projections forthesexualfantasies oftheSurrealists. Bythefirst century. the femalemannequinascarcass orcorpseintheearlytwentieth skirts inuniqueandindividualizedways. late nineteenth-centurydressmakers likeMadameTridou todrape dimensional bodydoubleprovided thenecessarytechnologyfor Far from “menacingthe wholeartoffashion,”thisthree- Walter BenjaminandtheSurrealists tookupthethemeof 82 Theseinertbodieswere then free toserveasartist’s muses, 35 83

Volume 1, Issue 1, Article 7 - 2018 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” 80cm 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 mannequine 84 In thecouture house,the , atermthatsuggestsits owner 36 Volume 1, Issue 1, Article 7 - 2018 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, FIGURE 10 Madeleine Vionnet andhermannequineMadeleine Vionnet 37 Volume 1, Issue 1, Article 7 - 2018 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 38 Volume 1, Issue 1, Article 7 - 2018 Body Doubles: The Origins of the Fashion Mannequin 9 Chapter 9of Press, 1986. See also J. Munro, Commodities: Paris and the Development of the Fashion Mannequin,” “Vivified 8 City: Paris,FashionandtheMedia 5 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., 1800–2007, NewYork: Routledge,2009,p.186-99;E.R.Klug,“MannequinsandDisplayinAmerica,1935–70,” Logic oftheMannequin:ShopwindowsandRealistNovel,”inJ.Potvin,ed., in the 1920s Visibility p. 375-96;L.Conor, “TheMannequinintheCommodityScene” Women: the1920sShopwindow MannequinandaPhysiognomyofEffacement,” the Century: 100 Years of Art & Fashion Haven: Yale University Press, 1995;U.Lehmann,“StrippingHerBare: theMannequininSurrealism,” in 3, no. 1, 1999, p. 3-32; S. K. Schneider, 4 maniérés oupervers,celle auxlignesfigéesparlamode.”Riotorin 3 forms respectively. 2 (Z1, 2),2002,p.694. 1 Endnotes 7 called “mannequinparades”inEnglish. 6 David McLintock,NewYork: Penguin,2003. L.Riotor, A.Huyssen, V. Steele, InFrance,professional maleandfemalemodelsare stillcalled C.Evans,“Masks,Mirrors, andMannequins:ElsaSchiaparelli andtheDecentered Subject,” “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, K. Miller, Doubles Le mannequin Paris Fashion:ACulturalHistory Silent Partners After theGreat Divide:Modernism,MassCulture, Postmodernism The PlacesandSpacesofFashion The Arcades Project ; Studies inLiteraryHistory, , Bloomington and Indianapolis: Indiana University Press, 2004, p. 105-28; V. Osborne, “The Ralph Pucci: The Art of the Mannequin , Paris:BibliothèqueArtistique etLittéraire, 1900,p.96. , p.167-89. , London:I.B.Tauris, 2009. , Trans. H.EilandandK.McLaughlin,Cambridge,MA:Harvard UniversityPress, Vital Mummies: Performance Design for the Shop Window Mannequin Mummies: Performance Design for the Shop Window Vital , London: Hayward Gallery, 1998; T. Grönberg, “Beware the Beautiful , 3rd edition,London:Bloomsbury, 2017;A.Rocamora, Oxford: Oxford UniversityPress, 1985;S.Freud, , 1800–2007,NewYork: Routledge,2009,p.200-13;E.Marshall , New York: Museum of Arts and Design, 2015. Lou mannequins Le mannequin The SpectacularModernWoman: Feminine The StudyofDress History . Thefirstlivefashionshowswere The PlacesandSpacesofFashion, , Bloomington:IndianaUniversity Art History , p.29. , vol.20,no.3,1997, The Uncanny Fashion Theory Fashioning the , Manchester: Addressing , Trans. , New , vol. 39 Volume 1, Issue 1, Article 7 - 2018 Body Doubles: The Origins of the Fashion Mannequin Ernst, ed., 23 22 p. 883. 21 20 Monarchy France(1830–1848),” 19 18 and HisFamily genre painterArthurDevis. 17 lifelike body. were usuallymadeofwood withmetalarticulations.Theywere paddedandcovered withfabrictoproduce a 16 doubles?). Schwartz,p.112. body tomove,“MedievalKnightsintheoff seasonhungtheirsuitsofarmourupondummiescalleddobbles”(or 15 Partners 14 13 p. 107;Munro, p.13. mannequin. 12 Press, 2014. 11 2009. Chapter 3in Quarterly, Barbie uncritically from MaxVon Boehn’s unfootnotedworkondollsinthe1920s, 10 Intriguingly, justas thefirstsuitsdeveloped from theneedforfitted,paddedunder-armour that allowedthe Foranexcellentsummaryoftheiruseinpaintingdrapery, seeMunro, “CastingStuffs: ‘AllPoetry,’” In Schwartz,p.107;Munro, p.34-5. HillelSchwartzsuggeststhatMasaccio,oneofthefirstItalianpaintersto render realistic figures, mayhaveuseda NotablyJaneMunro, Inherbookonfashiondolls,JulietPeersstatesthatmostofthesources onthehistoryoffashiondollsquote A.MatthewsDavid,“Madeto Measure? Tailoring andthe‘Normal’BodyinNineteenth-Century France,”inW. A.Hollander, R.Roslak,“Artisans,Consumers,andCorporeality inSignac’s ParisianInteriors,” Seeforexample,C.Baudelaire, “Duchicetduponcif,” H.Hahn,“FashionDiscoursesinFashionMagazinesand MadamedeGirardin’s Munro, p.39. Objectslikethesewere valuable enoughtoberesold andthisonewaspurchased inthe1760sbyEnglish Theartist’s termlay-figure alsocomesfrom MiddleDutch,from , Oxford: Berg, 2004,p.17-9;Y.C. Croizat, “‘Living Dolls’:François1erDresses HisWomen,” , p.26-9. vol.60,2007,p.94-130;J.Park,“AppearingNatural,BecomingStrange:TheSelfasMimeticObject,” Histories oftheNormalandAbnormal: SocialandCulturalHistoriesofNormsNormativity The Culture of the Copy: Striking Likenesses, Unreasonable Facsimiles The SelfandIt:NovelObjectsinEighteenth-CenturyEngland, , Preston: HarrisMuseum and ArtGallery, 1983,cataloguenos.55&56,67. Sex andSuits Silent Partners:ArtistandMannequinfrom FunctiontoFetish Polite SocietybyArthurDevis,1712–1787:PortraitsoftheEnglishCountryGentleman , NewYork: Knopf,1994,p.89. Fashion Theory , vol.9,no.2,2005,p.221. Salon de1846, leeman or“limb-man.”Theseearlymannequins p.163-4. Stanford: Stanford UniversityPress, Fashion Doll:from BébéJumeau Art History , New York: ZoneBooks, 1996, , NewHaven:Yale University Lettres Parisiennes , vol.29,no.5,2006, Renaissance , London inJuly- Silent 40

to Volume 1, Issue 1, Article 7 - 2018 Body Doubles: The Origins of the Fashion Mannequin et desgiletsd’ord’argent quiplaisentauxbeauxdeCarpenteras.” R.deBeauvoir, “LeTailleur,” in robes dechambre ébouriffantes, dontlaplusgrande partieestensoiedeLyon, etqu’ilsvendentà très-haut prix; 35 Eighteenth andEarlyNineteenthCenturies,” see R.Wrigley, “BetweentheStreet andtheSalon:ParisianSignsSpacesofProfessionalism inthe 34 mode fashionablesparisiennes, 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 33 p. 355. 32 eds., future studiesofit.J.Entwistle, “BrunoLatour:Actor-Network TheoryandFashion”inA.RocamoraSmelik, 31 tailleurs qu’ils essaieront surcemannequin qu’onpeutappelersanspareil.” M.Couanon,ed., et s’assurer d’avance,par unmécanismeaussiingénieuxqu’immédiat,s’ilyauraounonpoignard àchaquepièce grande utilitéauxtailleurs,puisquec’estsurcettemécaniquequ’ilspourront essayertoutespèced’habillement, 30 29 28 du commerce, del’industrie, delamagistrature etdel’administration made-to-measure bustsin1900, includingStockmanandCharlesWeiss, at25ruedeBichat, 27 ou defemmes. personnes qui, sans l’aide d’aucun maître, veulent couper et confectionner toutessortes de vêtements d’hommes 26 Pratiques. Revued’histoire duvêtementetdelamode,“SpecialIssue,” 25 24 and NewYork: Routledge,2006,p.142-64. “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. Whilethemass-produced mannequin becomesstandard, some C.Beck, M.Charpy, “Adjustments:BodiesandClothinginStandard IndustrialSizesDuringthe19thCentury,” I.Hacking, “Bustesd’hommeàl’usagedeMM.lesTailleurs, exécutésd’après unnouveauprocédé, et d’uneconstruction JaneBennett,“TheForce ofThings:StepsToward anEcologyofMatter,” Entwistledoesnotmentionthemannequinspecificallybutthisavenueoftheorizationcouldbeproductive for Annuaire-almanach Thinking Through Fashion , septembre 1839,p.259. Notice explicativesurlecostumomètre etlelongimètre, instruments indispensablesauxtailleurset The Taming ofChance n.p.Paris,1819,11-19;F. Chenoune, , p.1971-2. , London:I.B.Tauris, 2016,p.271. Paris:ImprimerieCordier, 1erdécembre 1831,p.8. , Cambridge:CambridgeUniversityPress, 1990. Oxford ArtJournal Des modesetdeshommes Le Narcisse, album de l’élégant, revue générale des , vol.21,no.1,1998,p.49. mannequiniers , Paris,1900,p.1971-2. vol.3,février2018,p.190. PoliticalTheory, , Paris:Flammarion,1993,p.44. advertisedbothready-made and Journal desmarchands- vol.32,no.3,2004, Annuaire-almanach Les Français Modes 41 Volume 1, Issue 1, Article 7 - 2018 Body Doubles: The Origins of the Fashion Mannequin Paris: EsmodÉditions,2011. and thehistoryofSchool. The catalogue,byCatherineÖrmen,iscalled the school,whichwasstilltaught basedonhisprinciples.In2011,ESMODcuratedanexhibit abouthisinventions his name.Inorder toaccesshistoricalmaterialonLavigne,theauthortookasummer patterndraftingcourseat currently hasbranchesfrom JapantoBrazil.In1847,hepatentedaflexiblemetrictapemeasure thatstillbears school thatisnowcalledESMODortheÉcoleSupérieure desArtsetTechniques delaMode,aninstitutionthat 48 2003, p.12-3. 46 45 Fournier, 1844, p.70. d’enseigne vivante.Laréclame s’estsimplifiéeenseperfectionnant.”J.J.Grandville, Les tailleurs,leschapeliers,bottiers,modistes,onttrouvé lemoyendesupprimerl’hommequileurservait le brasàdescapotes;bottesmarchent crânementlechapeausurl’oreille: continuationdumêmesystème. 44 fascination withbeautifulmenservingastailor’s models. but charmingyoungman”whoworksasamodelinthe1842story“Legiletdesanté”suggestthatthere wasa a noblebutimpoverishedmalefashionmodelwhomarrieswealthyMarquess, aswellthestoryofa“poor 43 42 J.N. Barba,1826. 41 Modern Masculinity:England,1550–1850 40 39 38 37 36 peints pareux-mêmes 47 playwright, heworkedforadraperinParis. did notcomefrom awealthyfamilyandknewtheindustryfrom theinside—before hebecameajournalistand “Quevois-jesurlachaussée?Desbrodequins quesepromènent, descannesquiportenthautlatêteendonnant Whilethis Rochefortin RochefortetGeorges Duval, C. Breward, Finn,p.154. “Men’s Things:MasculinePossessionintheConsumerRevolution.” M.Marrinan, H.deBalzac, In1841,attheageof23,hepublishedfirstmanyeditions ofhiscuttingmanualandfoundedtheprofessional E.Wilson, A.Luchet, K.Marx, Capital mannequin L’art industrielàl’expositionuniverselle de1867 Adorned inDreams: FashionandModernity, The Suit Le tailleur Illusionsperdues, Romantic Paris:HistoriesofaCulturalLandscape , London:PenguinClassics,p.165. , Paris:L.Curmer, 1841,p.244. , London: Reaktion, 2016, p. 17. See also D. Kuchta’s classic text isasubjectofridicule,sources likeLouiseBury’s 1844story“L’homme-mannequin” about , p.6. Le tailleurdesbossus,oul’orthopédie,contrefaçon en1acteetvaudeville, vol.5,Paris:Pléiade,1837,p.194. , Berkeley, CA: BerkeleyUniversityPress, 2002. 2 nd , Paris:LibrairieInternationale,1868,p.379.Luchet edition,NewBrunswick:RutgersUniversityPress, , Stanford: Stanford UniversityPress, 2009,p.282. Social History Saga demode,170ansd’innovations , vol.25,no.2,2000,p.135. Un autre monde The Three-Piece Suit and , Paris:H. Paris: 42 , Volume 1, Issue 1, Article 7 - 2018 Body Doubles: The Origins of the Fashion Mannequin 60 C. Örmen, 59 Textile History 58 de sport Hédouville, ed., while theBaron deVaux de saysthat the amazoneisbeauty molded inadarkbodysuit. H. dePène,inVicomte 57 de Paris fashion-journal desmodes,guideélégants eds., Arnold, “Dashing Amazons: the Development of Women’s Dress, c. 1500–1900,” in A. de la Haye and E. Wilson, Tailoring, Technology andSocialIdentityinNineteenth-Century Paris 56 Specific couture dresses were oftengivenfemininefirstnameslike“Mireille.” C.Evans, 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 55 54 Ontology oftheFashionModel,”p.63. 53 but thesefigures were rare. Munro, p.38-9. mannequin inthe1770s,andafixedpaintedwoodversiondressed ina robe àlafrançaisesurvivesfrom the1760s, Munro hasunearthedevidence thataParisianluxuryboutique,“AuMagnifique,”usedlife-sizedfemaledisplay 52 51 50 Century at theindustrialexhibition.H.Hahn, new mannequin.”Lavigneadvertisedmannequinsfortailors,butthevaudevillefeminizedbodiesondisplay called 49 SeeparticularlyChapter1,“Pre-History: Nineteenth-CenturyFashionModelling.”Bytheearly20thcentury, Riotorin Jean-PhilippeWorth, High-endmilliners’boutiquesfeatured headswithfacesfordisplayinghatsbuttheylackedbodies.Jane NicoleParrot, A.Guillerme, G.Bouchet, X.Chaumette,C.Fauque,and E.Montet, 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,” Exposition nationaledesproduits del’industriefrançaise Defining Dress: Dress asObject,MeaningandIdentity Un déluged’inventions,revue del’expositionl’industrie , NewYork: PalgraveMacmillan,2009,p.115. , chezl’auteur, Paris,1868,p.11. , Paris:C.MarponetE.Flammarion,1885,p.141. Le mannequin Saga demode , vol.34,no.2,2003,p.137. Le chevalàParisde1850–1914 La naissancedel’industrie à Paris:entre sueursetvapeurs:1780–1830, Mannequins La femme à cheval A CenturyofFashion , p.86. , p.40. , Paris:ÉditionsColona,1981,p.35. , Paris: P. Ollendorff, 1884, p. 5; Baron Charles-MauricedeVaux, Scenes ofParisianModernity:Culture andConsumptionintheNineteenth , Boston:Little,Brown, and Company, 1928,p.10.andC.Evans,“The Le tailleur, vêtement-message , Genève:LibrairieDroz S.A.,1993,p.252. , n.p.Paris,1845,p.523;F. Sourd, , n.p.Paris,1849.HazelHahncitesan1849vaudeville , Manchester:ManchesterUniversityPress, 1999; “inwhichamechanicalwomanisinventedas , PhD.Dissertation,August2002,p.178;J. , Paris:Syros-Alternatives, 1992,p.76; La nouvellegrève destailleurs Paris:ChampVallon, 2007. Mechanical Smile Cutting aFigure: Les femmes , p.15. 43 La Volume 1, Issue 1, Article 7 - 2018 Body Doubles: The Origins of the Fashion Mannequin 125-6; M.Wentworth, Love: Prostitution inFrench ArtoftheImpressionist Era ed., London: Yale UniversityPress, 1999;E.Prelinger, asSymbolistandFetishist?ASurmise,”inK.Lochnan, “Tissot and theMakingofModernWoman,” inK.Lochnan,ed., 73 Delmonico Books,2010,p.96. 72 mesure dutourdepoitrine-ditl’amazone.”Riotorin 71 70 69 universelle internationalede1889àParis 68 siegel-stockman.com/ Rue Legendre. Stockman continuestomanufacture mannequinsinafactorythesuburbsofParis: 67 opened shopduringtheSecondEmpire. headquarters for their mannequinbusiness was located at 15, rue de Richelieu, the same locale where her father 66 forte.” Shenotesthatthesize42mannequinismostuseful. 38, whichcanbeusedforgirlsover14yearsoldorthinyoungwomen,tosize50,issimplycalled“Taille Alice Guerre-Lavigne, toutes uneouplusieurssériesdemannequinsdepuislataillepluspetite(38)jusqu’àforte(50)…” 65 64 tailleurs, couturières etapprentis desdeuxprofessions 63 62 Anny Latour, considérable demannequinsgrandeurnature ethabillésdesestoilettes,àseulefinleuréviterdesfauxplis.” 61 S.SadakoTakeda andK.DurlandSpilker, “Oui,désormaislemannequinestentré danslesmoeurs.—‘J’aiun42,44’cenuméro quiindiquelademi- A.Guerre-Lavigne, Riotorin G.A.Godillot,“Classe56matérieletprocédés delacouture etlaconfectiondesvêtements,” In1894hiscatalogueoffers femalebustsin12standardized sizes. 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, Aldrich in “CuttingPractices,” p. 144. These included Lavigne’s Riotorin “La mode était à tel point le pivot de ses préoccupations qu’elle avait fait installer aux Tuileries un nombre Tissot’s work hasreceived agreat dealofcriticalattention.See T. Garb,“Paintingthe‘Parisienne’:JamesTissot Seductive Surfaces:TheArtof Tissot Saga Le mannequin Le mannequin Les magiciensdelamode , p.93. L’art danslecostume, James Tissot . L’art danslecostume , p.96. , p.94;Örmen, , Oxford: Oxford University Press, 1984,p.154-73. , Paris:R.Julliard, 1961,p.131. , NewHavenandLondon:Yale University Press, 1999;H.Clayson, , Paris:ImprimerieNationale,1889,p.17. Saga Paris,décembre 1885,p.15. , Paris,décembre 1885,p. 14;shegoesontodescribethesizes,from Fashioning Fashion:European Dress inDetail1700–1915 , p.42. Le mannequin , chezl’auteur, Paris,1868. , NewHavenandLondon:Yale University Press, 1991,p. Seductive Surfaces:TheArtofTissot Méthode decoupepourdamesàl’usagedes , p.78. Bustes etMannequinsF. Stockman, , NewHavenand http://www. Exposition , Munich: Painted Paris, 44 Volume 1, Issue 1, Article 7 - 2018 Body Doubles: The Origins of the Fashion Mannequin would represent myactualstature ratherthanthatofthetall,elongatedfashionmodeltoday. 84 2003, p.163-88. century fashion,seeC.Evans,“Deathliness,”Chapter7of amongst others.Formore ontheuncanny, thedoll,andmannequinspecificallyin relationship totwentieth- Atget, andascreative musefortheartworksofGiorgio deChirico,MaxErnst,HansBellmer, andMarcel Duchamp, 83 82 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 s’est écrié:Mannequindesmannequins,ettoutn’estquemannequin!”Grandvillein 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 80 Silhouette dans lessalonsoùilssontdésirés.” “Lesfashionables,parbrevet d’importationetdeperfectionnement,” tous les jours, sansrétribution, de trois à quatre heures, aujardin desTuileries…Les fashionablessetransportent petites machines,modeléessurletypedelabeautéidéale,sontd’uneperfectionsurprenante.…On peutlesvoir 79 78 77 Press, 1996,p.202. 76 75 write thestorythatwouldbepaired withTissot’s 74 Asawomanofrelatively modestheight,Ilovethefactthata“full-sized”versionof double thisheight(160cm) Schwartz,p.118.Themannequinservesthisrole inthewritingsofWalter Benjamin, thephotographsofEugène W. Benjamin, “Cequiatuélesfroufrous del’été,sapimpanteallure etsagrâce,cequimenacetout entierl’artdelamode, “Ilparaîtquedanscepayslamodeestdesefaire représenter danslespromenades publiquespardesSosiesen “Lesfashionables,poupéesàressort, quiboivent,mangentetagissentcommedespersonnesnaturelles. Ces Park,p.105. J.Munro, J.Coffin, A.Hepp,“Lemannequin,”in Theimagesfrom Tissot’s serieswere tobeaccompaniedbytextswrittendifferent authors.EmileZolawasto , Paris:Aubert,11février1830,p.44. The PoliticsofWomen’s Work: TheParisGarmentTrades, 1750–1914 Silent Partners, The Arcades Project, p.176-8. Paris toutnu, B.Hanssen,ed.,London:Continuum,2006,p.106. Paris:E.Dentu,1885,p.232-3. Demoiselle Fashion attheEdge . Wentworth in JamesTissot , NewHaven:Yale UniversityPress, , Princeton:PrincetonUniversity Un autre monde , p.169. , p.70. 45 La Volume 1, Issue 1, Article 7 - 2018 Body Doubles: The Origins of the Fashion Mannequin Author Biography Alison Matthews David 2018, pp.1-46, the FashionMannequin.” Studies,vol.1,no. Matthews David,Alison.“Body Doubles:TheOriginsof Article Citation as weapon,evidence,anddisguise. Fashion project, historical sleuthingandhercurrent bookandexhibition 2014–April 2018).Thatresearch ledhertocontinue Semmelhack attheBataShoeMuseuminToronto (June of aco-curatedexhibitionwithSeniorCuratorElizabeth Bloomsbury Academicin2015andalsotooktheform entanglement and fire. The bookwaspublished by chemical toxins,andcausingaccidents,including wearers bytransmitting contagious disease,leaching clothing physicallyharmedthehealthofitsmakersand recent research project, journal and materialculture, and co-edits thenewopen-access has publishedextensivelyonnineteenth-centurydress She wasawarded adoctorate from Stanford University, in theSchoolofFashion,RyersonUniversity. Dr. AlisonMatthews DavidisanAssociateProfessor RYERSON UNIVERSITY

, investigatesthethemeofcrimeandclothing Fashion Studies Unravelling Crime:AForensic Historyof www.fashionstudies.ca/body-doubles/ withDr. Ben Barry. Hermost Fashion Victims , lookedathow 46 .