Nov 2, 1999/ FW/ --- Compiling a history of the display mannequins is like putting together a family album of Oscar Wilde’s famous character, Dorian Gray, who never aged beyond a certain point.

It is best to begin the survey of mannequin facial expressions in the mid-1800s when the improvement of the sewing machine influenced the further development of ready-to-wear clothing which, in turn helped stock the department stores that were opening in major cities.

Incorporated into the architecture of the department store were large, paned-glass windows that not only helped light the interior of the stores, but also made possible the development of show windows for display.

The bodies of mannequins during this era, sometimes referred to as costume models or costume stands were made of various materials such as wicker, soldered wire, leather and papier-mâché.

Heads were made from carved wood, molded papier-mâché and wax. The papier-mâché and wood heads were straightforward and simplistic, in keeping with bodies that were static or “wooden” in their carriage.

For the most part, these mannequins exuded blank stare, looking ahead with possible very faint overtones of smiles.

Some of the papier-mâché heads were fitted with extremely realistic glass eyes. There were such a contrast between the primitive papier-mâché and the frightening realism of the glass eyes, it was as if live people were staring out from behind masks.

Further substantiating this impression, eyes fit into the sockets with little sculptural fluidity and thus had a puppet-like quality.

Wax heads were of varied sculptural quality, sporting human hair and glass eyes. Some, though, were very much like papier-mâché counterparts with very little animation.

But it should be noted that Jacobson Bros. (a British company no longer in existence) had patents for the “Mechanical Olympia” figure with movable head and eyes. The eye movement was considered a catchy way to enhance merchandise display.

Pierre Imans (a Paris-based company), was noted for excellent wax display models. The countenances of these figures were softer than those of Hoehm and Haroske (a German company that no longer exists), even though they were far more elaborate in makeup and hairstyle.

An innocent ladylike sexuality was conveyed with large doe eyes accented by heavy brows, while lips were distinctly pursed.