MANNEQUINS SYMBOLISE FASHION AND DESIGN. THE PRIVILEDGED POSITION OF THESE ‘LITTLE MEN AND WOMEN’ IS DOWN TO MORE THAN JUST THEIR PRACTICAL USE: INDEED THEY HAVE THE PERFECT FIGURE AND A BODY ON WHICH GARMENT PROTOTYPES HAVE BEEN MODELLED, YET THEY ALSO PLAY A STARRING ROLE IN THE ART OF VISUAL MERCHANDIZING.

 The origins of mannequins lie in royal palaces. Since the days of Egyptian Pharaoahs, tailors and dressmakers would fit their creations on life-size reproductions of kings and queens to avoid any potential embarrassing situations. During the middle ages, all traces of these iconic objects seemed to vanish, and it was not until 1835 that they would reappear in the form of a metal structure, whose use was again limited to personalized couture tailoring and dressmaking.

By the 1890s, mannequins were at the centre of the newly created art of visual merchandizing. The arrival of the sewing machine allowed for the mass production of clothing for middle class, eager to spend its money. This, combined with the advent of electric street lighting in large cities would turn shop windows into an essential part of the fashion industry. These early mannequins were extremely expensive and highly impractical: made of wood, they needed iron feet to keep them upright.

During the roaring 20s, New York department stores introduced ‘little women’ with more realistic features, such as real hair wigs, glass eyes and even facial expressions and freckles. Artist Lester Gaba took this trend to the extreme: during the 30s, his 6 plaster-sculptured ‘Gaba girls’ became popular features at US high society gatherings. The Cynthia mannequin in particular, accompanied her creator to all events he attended, therefore taking her success to newer heights.

During World War II window displays were sober sights. The mannequins appeared sad and out of spirits, although by the late 40s a bright smile had been painted back on their faces accompanied by cigarettes and pipes. During the second half of the century, manufacturers also made use of new materials such as plastic and technological advances, which lead to the mass production of these figures in the late 60s.

Till this day, mannequins have remained a significant part of the fashion industry and a greater tool to fashion designers, stylists and visual creatives. They have become an obsession and a silhouette of aspiration for fashion models. The history and story of these little creations had and will continue to be a platform of creative expression for all in the industry of creative art and design.     

TREND SOLDIERS. CHUCK MBEVO AND TEDDY NKONDE. OBVIOUSLY!!!!!

FIGURES OF GRACE AND CRAFT

MANNEQUINS SYMBOLISE FASHION AND DESIGN. THE PRIVILEDGED POSITION OF THESE ‘LITTLE MEN AND WOMEN’ IS DOWN TO MORE THAN JUST THEIR PRACTICAL USE: INDEED THEY HAVE THE PERFECT FIGURE AND A BODY ON WHICH GARMENT PROTOTYPES HAVE BEEN MODELLED, YET THEY ALSO PLAY A STARRING ROLE IN THE ART OF VISUAL MERCHANDIZING.

 The origins of mannequins lie in royal palaces. Since the days of Egyptian Pharaoahs, tailors and dressmakers would fit their creations on life-size reproductions of kings and queens to avoid any potential embarrassing situations. During the middle ages, all traces of these iconic objects seemed to vanish, and it was not until 1835 that they would reappear in the form of a metal structure, whose use was again limited to personalized couture tailoring and dressmaking.

By the 1890s, mannequins were at the centre of the newly created art of visual merchandizing. The arrival of the sewing machine allowed for the mass production of clothing for middle class, eager to spend its money. This, combined with the advent of electric street lighting in large cities would turn shop windows into an essential part of the fashion industry. These early mannequins were extremely expensive and highly impractical: made of wood, they needed iron feet to keep them upright.

During the roaring 20s, New York department stores introduced ‘little women’ with more realistic features, such as real hair wigs, glass eyes and even facial expressions and freckles. Artist Lester Gaba took this trend to the extreme: during the 30s, his 6 plaster-sculptured ‘Gaba girls’ became popular features at US high society gatherings. The Cynthia mannequin in particular, accompanied her creator to all events he attended, therefore taking her success to newer heights.

During World War II window displays were sober sights. The mannequins appeared sad and out of spirits, although by the late 40s a bright smile had been painted back on their faces accompanied by cigarettes and pipes. During the second half of the century, manufacturers also made use of new materials such as plastic and technological advances, which lead to the mass production of these figures in the late 60s.

Till this day, mannequins have remained a significant part of the fashion industry and a greater tool to fashion designers, stylists and visual creatives. They have become an obsession and a silhouette of aspiration for fashion models. The history and story of these little creations had and will continue to be a platform of creative expression for all in the industry of creative art and design.