Nov 5, 1999/ FW/ --- In the teens and early 1920s, facial expressions of wax mannequins became slightly more animated, perhaps a subconscious reaction to the ever-popular silent films.

Some, such as the 10-year-old girls by the French Wax Figure Co. (a Milwaukee-based company no longer in existence), resembled the motion picture actress Mary Pickford who was dubbed “America’s sweetheart.”

These children retained a sense of innocence. Enamel teeth were incorporated into slightly fuller smiles.

With respect to more adult figures, females created by Katherine Stubergh of O.H. Stubergh (a San Francisco–based company no longer in existence) literally glowed into their expressions.

A foursome of busts by O.H. Stubergh introduced a “bemused Matron,” a younger model with head tilted and lips pursed as if to say, “Kiss me you fool”, a moonstruck maiden and a woman with a slightly judgmental inhibited expression. There was a dash of theatricality in the French Wax Figures Co.’s females with their darkened eyes, bee-stung lips and feathered hair.

And some of the gypsy-like females by Pierre Imans, the influence of the sultry actress Theda Bara with her eyes enhanced by kohl, could be seen.

The adult males of the teens and early 1920’s were much more staid. The influences of theater and motion pictures were very apparent in their “makeup”.

Like Rudolph Valentino, their eyes were brought out with kohl, brows were emphasized and lips had a semi-bee-stung look. This held true for most male figures, even the faces of the more elderly.

By the mid-20s, the wax female busts of Heinrich Obermaier (a Munich-based compay still in existence today), They were sensual and not coy about it. Their male counterparts complemented them, looking as if they had just concluded a business meeting over cocktails at the local country club.

V.N. Siegel of Siegel & Stockman, Paris (one of the oldest mannequin manufacturer in the world still in existence today) startled the display industry with “modern” abstract mannequins in 1925.

Made of papier-mâché and a type of plastic rather than wax, they didn’t melt in the hot display windows and they were much lighter in weight. Their faces and bodies were abbreviated renditions of the human form, with expressions that seemed to mask feelings and retain certain aloofness.

An extreme step from the popular waxen realism of the day, Siegel commented about the development of these figures.

“The old mannequin, too realistic to respond to the abstract form assumed the architecture and decoration, could no longer fit into the window display with its effective and sober luxury as it is now conceived. This basic conviction prompted me to make an appeal to a new form of expression in order to bring about a timely rejuvenation and modernization."