Have you ever thought about why mannequins pose in a certain way? This needull is for you if you ever think of these questions.
But there was more to the mannequin’s pose beyond mere pragmatics. Fashion scholar Caroline Evans asserts that the mannequin’s pose was essentially a modernist phenomenon2 , arising alongside the modernist problem of representation – one that coincided with the rise of cinema.3 In an abstract sense, in Evans’ view, the pose imbued the garment, an essentially static object, with the motions of its wearer, thereby facilitating a dialectic between motion and stasis. By pausing to pose, the model allowed the garment to be captured as a fashion plate; but by gesturing the pose, the fashion plate came to reflect the entire flow of the mannequin’s walk, capturing her like a definitive singular frame in the moving image of film.