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Introduction

Adam Geczy

Source: The Artificial Body in Fashion and Art. Marionettes, Models, and Mannequins, 2018, Berg Fashion Library

Book chapter

PlutarchHegel, Georg, Wilhelm FriedrichZizek, SlavojIt is not difficult to credit that statues may have appeared to ooze with sweat, shed tears, or exude something which resembles drops of blood, since wood and stone often gather a mould which produces moisture, and not only display various colours themselves, but take on other tints from the atmosphere, and there is nothing to prevent us from believing that heaven sometimes employs such portents to foreshadow the future. It is also possible that

A Soul in Control: The Art of the Automaton

Adam Geczy

Source: The Artificial Body in Fashion and Art. Marionettes, Models, and Mannequins, 2018, Berg Fashion Library

Book chapter

automaton, automataMy friend, there are three models, Diderot, DenisThe Paradox of the Actorthe man of nature, the man of poetry and the man of acting. The one of nature is not as great as the poet who is in turn not as great as the great actor, the most exaggerated of all. The latter climbs onto the shoulders of the poet, a large wicker mannequin that houses its soul, shaking this figure fearfully, even to the extent that the poet no longer recognizes himself.

Between Torture and Transcendence: The Doll in Art

Adam Geczy

Source: The Artificial Body in Fashion and Art. Marionettes, Models, and Mannequins, 2018, Berg Fashion Library

Book chapter

Byron, George Gordon Lord“Prometheus”Schlegel, FriedrichLucindeFor with her is everything in nature is animate and inspired, and often remember fondly how she at Wharton, EdithThe House of Mirththe age of no more than one year old she saw and felt a puppetpuppet for the first time. A heavenly smile blossomed upon her face and she pressed a heart-felt kiss on its painted wooden lips.

A Model Subject: The Window Dummy, the Fashion Doll and the Double

Adam Geczy

Source: The Artificial Body in Fashion and Art. Marionettes, Models, and Mannequins, 2018, Berg Fashion Library

Book chapter

fashion modeldollNevertheless, it is a fact that I have not failed at times to play men certain tricks not altogether unworthy to be compared to your own work; as, for example, boring men’s ears, or lips, or noses, and lacerating them with the trinkets which I place therein; or scorching their bodies with hot irons, which I persuade them to apply to their persons by way of improving their beauty. Then again, I sometimes squeeze the heads of their children with ligatures and other appliances, rend

Conclusion: Between Beauty and Terror

Adam Geczy

Source: The Artificial Body in Fashion and Art. Marionettes, Models, and Mannequins, 2018, Berg Fashion Library

Book chapter

Baudelaire, CharlesMann, ThomasBuddenbrocksWould the puppetpuppet theater be big? Big and wide? How would the curtain look? A small hole has to cut into it as soon as possible because there was also a peephole in the State Theatre’s curtain. . . . Had Grandma or Miss Severin—because Grandma can’t do everything—found the decorations needed for Fidelio? As soon as it was morning he would decide on a site and do a show all on his own . . . And already the figures in his heart began singing, because

Line and Composition

Martin M. Pegler and Anne Kong

Source: Visual Merchandising and Display, 7th Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

balancedefinedLine is a direction. It is a major part display amusingtypes ofof composition, and second only to color in creating a response to the merchandise in a display. Lines can be lineverticalvertical, linehorizontalhorizontal, linecurvedcurved, or diagonal. The way in which these lines are utilized and combined determines the effectiveness of the merchandise presentation. Each line suggests something else and, like letters combined to form words, lines are arranged to make selling “pictur

Mannequins and Alternatives

Martin M. Pegler and Anne Kong

Source: Visual Merchandising and Display, 7th Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

There are some exciting new trends taking place in the mannequin industry. Manufacturers are consulting with visual merchandisers about their needs, and their response has influenced the design and customization of mannequins. Some companies are offering mannequins with arms that detach magnetically instead of using the traditional interlocking hardware.

Dressing the Three-Dimensional Form

Martin M. Pegler and Anne Kong

Source: Visual Merchandising and Display, 7th Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

wigsdressing mannequinswigsdressing mannequinsassembling mannequins andmannequindressingdressing mannequinsTo dress a mannequin, it must first be taken apart and then carefully reassembled as the various items or merchandise are put on the figure. After dressing a mannequin for some time, the visual merchandiser will develop his or her own technique for handling the mannequin and assembling mannequinsassembling the parts. For the beginner, the following steps will serve as a convenient way to sta

The Magic of the Display Window

Judy Bell and Kate Ternus

Source: Silent Selling. Best Practices and Effective Strategies in Visual Merchandising, 5th Edition, 2017, Fairchild Books Library

Book chapter + STUDIO

vignettes are a condensed version of a larger scene. For example, a home furnishings vignette might establish the mood and the scene of a larger room with only a few elements—a chair, an end table, and a lamp.

Mannequins and Mannequin Alternatives

Judy Bell and Kate Ternus

Source: Silent Selling. Best Practices and Effective Strategies in Visual Merchandising, 5th Edition, 2017, Fairchild Books Library

Book chapter + STUDIO

The mannequin is regarded as one of the fashion retailer’s most powerful communication tools. Used strategically, it speaks volumes about fashion trends and a store’s brand identity. We know that in order to communicate effectively, a store mannequin must relate to a shopper’s self-image. When shoppers follow current fashion—read about it, talk about it, look at it, buy it, and wear it—they are defining self and describing who they are through the clothing they wear. In fact, more than one indust

Draping on the Mannequin

Anette Fischer and Kiran Gobin

Source: Construction for Fashion Design, 2nd Edition, 2017, Fairchild Books Library

Book chapter

There is a vast range of mannequins available. It is vital before starting with the drape to have a close look at the model stand you are working on. Take measurements and analyze the general shape of the stand to work out if it covers the look and size you are after. In addition, you should have the following tools and equipment to hand before starting to drape.

Construction

Richard Sorger and Jenny Udale

Source: The Fundamentals of Fashion Design, 3rd Edition, 2017, Fairchild Books Library

Book chapter

Before we can talk about the methods for constructing garments, we must first look at the array of tools and heavy-duty machinery involved in the process of construction. Listed below are some of the key tools.

Displaying Merchandise

Sarah Bailey and Jonathan Baker

Source: Visual Merchandising for Fashion, 2014, Fairchild Books Library

Book chapter

Historically store windows were designed to enable customers to view the retailer’s offer before entering. In contemporary retailing this comprehensive selling space has a more complex commercial context. Store windows can entertain, engage and inspire the consumers, helping them to build an association and relationship with the retail brand.

Exhibiting The Body, Dress, and Time in Museums: A Historical Perspective

Anne-Sofie Hjemdahl

Source: Fashion and Museums. Theory and Practice, 2014, Berg Fashion Library

Book chapter

The headless mannequins are so filled with character that one can easily imagine the missing faces with their hairstyles and hats.

From Dummies to Dandies

Paul Jobling

Source: Advertising Menswear. Masculinity and Fashion in the British Media since 1945, 2014, Berg Fashion Library

Book chapter

Toile/muslin/prototype development

Jennifer Prendergast

Source: Sewing Techniques. An introduction to construction skills within the design process, 2014, Fairchild Books Library

Book chapter

Realizing your designs through the toile development process is very satisfying. There will be mistakes along the way but this is normal and should be expected; nobody ever produces perfect results first time. There will be amendments throughout the process, for example to the details, such as pockets and trims, as well as to the toile fitting itself.

Mannequins

Jane Audas

Source: The Berg Companion to Fashion, 2010, Berg Fashion Library

Encyclopedia entry

It was Paris that defined fashion from the mid-nineteenth until the mid-twentieth century, and the French mannequin manufacturers were able to exploit this reputation. Not only were French mannequins technologically advanced—fueled by the investment in shops and display in France—but notions of what was fashionable at any one point were centered on France, so French mannequins were considered the apex of fashion. Their new designs were also regularly exhibited at the international expositions, wi

Fashion Models

Caroline Evans

Source: The Berg Companion to Fashion, 2010, Berg Fashion Library

Encyclopedia entry

Charles Frederick Worth is generally thought to be the first couturier to use live models. However, many nineteenth-century dressmakers had a young woman available to put on a dress for a client, although their primary mode of display was a wooden or wicker dummy. Indeed, Worth met his future wife, Marie, while she was employed to model shawls to customers on the shop floor of their mutual employer, the mercer Gagelin et Opigez. The couple set up their first maison de couture in 1858, and Marie m

Display Mannequins

Leopoldina Fortunati

Source: Berg Encyclopedia of World Dress and Fashion. Global Perspectives, 2010, Berg Fashion Library

Encyclopedia entry

Although the dress mannequin is usually considered marginal within the marketing and displaying of fashionable clothing, it can be analyzed as a key cultural artifact in the fashion system. The display mannequin is part of an archaic imagery of humankind, similar to automatons, robots, and dolls. At a metaphoric level, it has an importance in Western culture, because on a symbolic plane the mannequin replaces the human being. In fashion, the mannequin engages in the dialogue between the container

Visual Merchandising

Jay Diamond and Sheri Litt

Source: Retailing in the Twenty-First Century, 2nd Edition, 2009, Fairchild Books Library

Book chapter

In order to differentiate one’s premises from others in the retail industry, merchants must carefully develop a concept that is unique to their operations. In the larger companies the task is left to the in-house display staff. The staff is supervised by a visual merchandising director, who at many retail operations enjoys the title of vice president and acts at the same level as merchandise and store operation executives.

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