Doll News Fall 2016 - 11

The evolution of the fashion doll has been a very long one. For hundreds of years, the miniature form of the fashion doll was something a traveling salesman used as a marketing tool to show the clothing trends he was selling on the road. Also known as poupées de mode or Pandora, this might also be something that could be mailed to local tailors, dressmakers or wealthy clients to re-create fashion and clothing styles. These dolls might include undergarments, shoes, jewelry, and accessories, along with wigs in hairstyles of the era to complete a fashion presentation. As we fast forward, some of the more familiar fashion dolls of the past are the middle to late 19th century French fashion Dolls that have now evolved as a doll for children. An area outside of Paris known as the Passage Choiseul grew up to produce the clothing, wigs and accessories needed. By the late 1800s however, a new doll form had begun to overtake these adult doll styles: the bébé. For the first time, children could interact with a child doll that represented them dressed in similar fashions. These are the same generation of dolls that would have appeared at the Alexander family's New York Grand Street doll hospital on the Lower East Side. At first repairing these beautiful porcelain dolls that the clientele of Maurice Alexander had brought with them from Europe, his daughter Beatrice would start producing her own dolls. As Europe entered the "Great War," the dominance of the French and a very robust competition from Germany would gradually evolve new doll concepts using new materials in the United States. In the years immediately following World War I, Beatrice Alexander and her sisters would produce dolls for their parents' shop. The European doll industry- now crippled by trade embargoes and years of war-was no longer a viable source of dolls. Having moved from cloth to a new composition material in the 1920s, immediately after World War II Alexander was among the first toy makers to use the new plastics. This finally allowed her to fulfill her dream of creating an unbreakable doll. Besides the flood of new materials now available for doll production, fashion took a drastic U-turn to the shock and awe of a newly prosperous America ready for something fresh and uplifting after decades of depression and war. This was partly set in motion in 1945 with a French production called Le Théâtre de la Mode. Used as a marketing tool, it was staged to remind the world that Paris was back in the business of couture fashion. The entire French couture industry became part of the exhibition, along with jewelers, milliners, hairdressers and even set designers to stage the production. After the 1944 Liberation, the exhibition inaugurated in Paris during March 1945. Using 27-inch wire mannequins, it was hugely successful. Opening first at the Louvre, the exhibition had just over 100,000 visitors. Featuring some 60 French couturiers and 200 dressed and coiffed mannequins, Le Théâtre de la Mode began a long journey through England and the capitals of Europe before opening in New York City in 1946. With perfect timing, Dior introduced his "New Look" in 1947. The "New Look" redefined a women's physical image in this revolution of design - creating shock waves on both sides of the Atlantic. Featuring a cinched waist, accentuated bust, and wide length-full skirts, it produced the ultra feminine silhouette. With a dominance of boxy shapes popularized by houses such as Chanel and Schiaparelli's in the 1930s, Christian Dior's "New Look" would soon take the world by storm and begin the history of contemporary fashion. During this time, Madame Alexander was first and foremost a costume designer for her dolls. Part of this strategy was that the same mold was used over and over, with different wigs and costuming defining the doll. With this new vision of the fashion industry, Alexander needed the right model for the very structured clothes on a very specific body type. Previously, Madame Alexander had done numerous period costumed portrait dolls in both composition and hard plastic - that represented children and adult characters. Both used the same body type of a child doll. However, if she was going to successfully interpret this new and daring look in contemporary fashion, she needed a doll that had the correct body type. This would give birth to Cissy. By a combination of vision, timing and maybe luck, Cissy as a 20-inch fashion doll, was introduced at the 1955 Toy Fair in New York City to become queen of the Alexander Doll Company form 1955 to 1958. For these first four years, Cissy came as a dressed doll, or as a basic doll wearing a chemise, accompanied by a wide range of boxed fashions, millinery, shoes, jewelry, furs and other accessories. From 1959 through 1962, Cissy continued her relatively long doll career where she evolved into a portrait doll intended for an audience now a little older. Just as the late 19th century French boudoir dolls, Cissy was now more likely to be admired by the young lady owning her than as a plaything. Cover deigned by Christian Berard for the London catalog of Le Théâtre de la Mode exhibit. DOLL NEWS * UFDC.ORG 11 http://www.ufdc.org

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