Jul 13, 1999/ FW/ --- Visual Merchanding Magazine has changed its name to VM&SD (Visual Merchandising & Store Design) since this article was written.

Although this article is 20 years old, the concepts discussed and show have not changed much. The mannequin has stayed to be more than the sum of its parts.

"It was not a typical photo session. In fact, the implications of our March cover grew more ironic as our work progressed. We knew we were starting off with a "Twilight Zone" concept: reversing the roles of mannequins and people. But as the role playing continued and different shots were staged, we all began to realize that the roles of mannequins and shoppers are not too sharply differentiated. Actually, they're pretty much interchangeable. As we overheard a member of the Pogue's display staff ask a mannequin, after he had bumped into her, if she was "alright", we knew that the fine line between art and life was fading fast."

That was how the article started, almost fictional, and yet to those of us who have worked with mannequins know that we don't refer to them as it. We refer to them as a "She" or a "He".

Even with forms which are headless or missing certain body parts, we instinctively know that it is either a male or a female.

Mannequins have been part of store windows display since the Industrial Revolution. When the "pane" glass was invented and its distribution became widespread, store owners started putting merchandise towards the window to attract passers by.

There were no mannequins then, just dressmaker forms. The mannequins came later, in the form of papier-mache and wax figures. The store window became part of a play, a theater in suspension. The display man (the term used during the early days for visual merchandisers) have to think of scenarios to show in a window.

"Whether realistic or abstract, in "fact" or fantasy situations, mannequins must be utilized by visual merchandisers in a way which relates to a customer's self-image; the visual merchandiser must observe and study customers as if they too were on display. So, ultimately, our cover poses the question of whether art imitates life or life imitates art."

Art or commercialism? Up to today, that is a big question about mannequins and store displays. Simon Doonan in his book Confessions of a Window Dreser refused to be called an artist. In fact, he continues to call himself a window dresser although his real title at Barney's is Corporate Director for Advertising.

Perhaps, the debate will go on for another 20 years, and we will not find an answer. The fascination of the customers with mannequins will continue as it has been for the past hundred years. The socio-economic forces affect both the customers' buying habits and the mannequins' looks and availability. It is hard to draw the line who affects who.