Shortly thereafter, improvements were clearly visible.

Pierre Imans a mannequin manufacturer from Paris, began to bring a beautiful sense of human element to mannequins by capturing body expressions in wax.

He created interactive compositions of figures, as though they were in the process of living and unaware that they were also being observed.

Heads and torsos were sculpted as one. With a slight turn of the head, a hint of movement was achieved.

Hands were more delicately posed to create storytelling attitudes.

(Pierre Imans was recently purchased by another company, and it is uncertain as to whether or not the firm is still producing mannequins.)

Miss Modesty, a wax mannequin of 1899 is a prime example of the development of storytelling attitudes. She stood in a store window, with hands and arms covering her face, stating reservation and shynesss because she was wearing and selling corsets and undergarments.

She tantalized the shopper of 1899 to buy a bit of sexiness, with all due modesty, of course.

At the turn of the century, the women's suffrage movement was gaining momentum, a definite influence on the female mannequin.

In fact, a particular Siegel mannequin that was set upon a turning base (she was without legs) translated into a determined, assertive female of that era.

With one arm held back and a hand slightly clenched, her head was high with vision focused straight forward.

The other hand was more relaxed, showing a touch of softness. True to the accepted body language of her day, she portrayed the mature woman, with hips thrown back and heavy bosom thrust upwards.

Contrasting with an ever-growing wave of liberalism, however, there still remained a strong, conservative contingent.

Many a proper mannequin still dressed many a proper display. There were males and females that stood in drawing room settings, with males rarely stepping out of bounds in their stiff-collared suits.

They stood like tall buildings, with movement centered on their hands that rested on canes or held hats. Emotions were restrained. Gestures were reserved for practical intent.

These male figures appeared almost anonymously, wearing asexual masks.