Female gestures acquired a sense of freedom, showing the influence and acceptance of dance.

Pavlova, the Russian prima ballerina, had completed her sensational world tour. Isadora Duncan and the Ziegfeld Follies were making headlines, while the "Turkey Trot" gained popularity.

Actresses, too were pesonified at times - Sarah Bernhardt appeal coupled with the innocence of Mary Pickford.

In a catalog dated 1916, from the French Wax Figure Co., Milwaukee (the company no longer exists), female forms were shown with hair styles that pirouetted to the skies. Toes were pointed forward forward and to the side. Hands were posed in perfect pristine statements.

Male figures of that era took on a greater sense of life, as if performing in the display arena.

(Male mannequins circa 1900s)

Also during this time, a female fad was sky sailing (ballooning). Women were ready to take flight in their hobbled skirts that were analogous to cocoons.

Poiret, a French fashion designer at the time foretold the changes taking place via the fashions he created for the new woman. His fashions were more akin to costumes that made women appear as butterflies, echoing the freedom and earmarking many things in store for women.

With the onslaught of World War I, there was a very definite impact on the mannequin population. Sugar rationing had trimmed down the figure in contrast to the buxom ideal prior to the war. Female forms slid to very apparent slender dimensions.

Hems were creeping up. Bodies were becoming delightfully more visible.

By the '20s, certain figures were actually projecting a very pronounced, luxurious sensuousness.

Legs were emphasized as the erogenous zone, and smaller breasts became the accepted ideal. Arms were held out like wings or were posed lightly touching the chest, proclaiming a 'look at me' attitude.