She devised a metal skeleton that was covered with a skin-like material. This design gave the mannequin capabilities of subtle or extreme body postures. (Kathe Kruse no longer makes mannequins, but continues to manufacture dolls in Germany.)

Gems of England (it became Gemini Mannequins and then subsequently bought by Universal Display) promoted the use of its articulated mannequins by presenting display ideas in sketches and photos.

Many of the company's mannequins assumed exaggerated, cartoon-like gestures.

Due to the fact that these figures did not necessarily equate lifelike body attitudes, they worked best in comical scenes and situational vignettes.

But Gems provided classical figures as well, with sophisticated males in tuxedos leaning against the country club bar.

Also prevalent during this period were lounging sun bathers and diving sports figures of art deco extremes. Society women were often emphasized too, and were portrayed as being matronly until the mid '30s when Lester Gaba brought the younger, sophisticated society belle to the forefront.

Gaba worked as a freelance designer for several mannequin manufactures. He also worked for Saks Fifth Avenue in display.

Gaba's mannequin creations transposed the idealized Saks customer into the form of Cynthia the mannequin, modeled after a top fashion model of the time, Cynthia Wells.

A cold strength was seen in Cynthia and in other mannequins of the same period that were created by Cora Scovil and Katherine Stubergh.

Perhaps such figures projected the grim war years ahead of Women's liberation.

In the meantime, Siegel was going in an opposite direction by creating fantasy figures of plaster, standing and lounging in exotic poses with expressions of escapism.