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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