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Fashion and Pandora Dolls: How Style Travelled The World Before Printing and Cameras.
00:36:10
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- [00:21]
A
Fashion is as old as clothes are, and we know that they go back a very long way indeed. There are some wonderful carved figurines found in eastern Siberia that seem to be dressed in furs with hoods. They're around 24,000 years old. And I'm sure even then there was a right way and a wrong way to wear your fur. But this episode is concerned with times far closer to us. From the Middle Ages we, right up until the COVID epidemic five years ago, a little mannequin or doll has played a hidden role in history. She has traveled the world in the service of fashion, spreading the word amongst the elite houses of Europe and beyond, playing a part in the politics and diplomacy of the ages. And yet her own life and times have been sadly unremarked. Come with me and listen to the story of the Pandora Doll, who has brokered more than a few marriages in her time. She's seen riots and war. She was plunged to the bottom of Boston harbor along with the tea, and she has survived. Welcome to Haptic and Hughes Tales of Textiles. I'm Jo Andrews, a hand weaver interested in what textiles tell us about people's lives and communities. These are stories that go far beyond the written word. This episode looks at the extraordinary history of the Pandora Doll, or Pupin, as she was sometimes called. It's hard for us, who have instant access to pictures and reels of new trends to imagine what it must have been like before printing and cameras. How did style travel? The answer was these little dolls. There's Rebecca Devaney, an embroiderer who writes and lectures on the history of French
- [02:41]
B
fashion, explains these Pandora dolls as we see them, if we're looking at it through a fashion point of view, they're very, very important. Before the advent of magazines or fashion illustrations or fashion plates, these little Pandora dolls were used to spread fashion throughout Europe and then across the Atlantic to America and then throughout the colonies. And they're just this very interesting, I suppose, method of marketing and communications, whereby dressmakers, or what they were called here, was Marchand de mode. So fashion merchants would make up dresses in miniature and they would go through very long discussions with their clients about which ribbon to use, which lace to use, which buttons to use, which fabrics to use and which styles overall to use as well. And because at that time, everything was made by hand or made with the best of materials, they were made in miniature. First because it was cost effective, it just wasn't an option for people to make up a full size version and then for the client to say, no thanks, I want that in blue or I want that in pink. When lace is made by hand, you need to make sure that your customer is going to agree with the lace that you're proposing to use.
- [04:01]
A
These dolls had a role not just in carrying fashion, but also in helping elite fig dress for ceremonial occasions and modeling how they should behave. It could all be acted out using the dolls in advance. It's thought that this is how a wooden figure found in Tutankhamun's tomb, close to his clothing chest may have been used. But it was in France that they
- [04:29]
B
really came into their own, these Pandora dolls. It said that they were used from the Middle Ages and that they had a really important the royal courts in Europe. So the Queen of France would send a gift of these dolls to, say, the Queen of England. And generally once the dresses were made in miniature by the dressmaker, when the client was happy, the queen or princess or whoever it was, it would be made in life size. And then once the dresses had been worn in the French court, then those miniature dolls could be sent around the royal courts of Europe, in Germany, in Italy, in Spain and England and so forth.
- [05:10]
A
The first written records of these wooden or wax figures date back to the 1300s. French court records show us that in 1321, the French queen sent fashion mannequins as a gift to the Queen of England. And then again in 1396, the court tailor of France, Roger de Varennes, made a number of dolls for the Queen of France, Isabel of Bavaria, for her six year old daughter, also Isabella, who had been sent to England to be betrothed to the King. These dolls were not for her to play with. Instead they were for her tailors to copy the clothing and for her to emphasize her valuable French provenance. We know that Mary Queen of Scots, who was brought up in Paris, had a set Pandora figures and that she and her ladies in waiting, the four Marys, dressed them in different costumes while they were in Scotland. When we think of Mary, Queen of Scots and her particular grace that comes down the centuries, she's wearing black velvet and white lace. This is how she chose to be painted and how she wished to be seen. And her mannequins played a central role in how she and her ladies in waiting worked this out. Think too of Elizabeth I of England, red headed, in magnificently embroidered costumes, in russet colours, studded with jewels, huge sleeves, lace ruff. And the story of the Pandora mannequins makes you realize that the royal courts of Europe used ideas of fashion to project their majesty, to elevate themselves above the people and to help their subjects understand that they were queens to be served and obeyed, which at that time was a difficult thing for a woman to pull off. The clothing was a central part of their display of power.
- [07:24]
B
It wasn't just fashion at that time. Fashion and everything that went with it, fabric, lace, ribbon, embroidery, all the undergarments, they were hugely important to the French economy. And I think it was Jean Baptiste Colbert, the minister of finance in the 17th century, declared that fashion is to France what the gold mines of Peru are to Spain. So they really were highly important, these little dolls. What they were saying to the European courts and then later on to America and then the other colonies, was that France was the place to go to buy fashion, or to buy what you needed to have your fashions made.
- [08:04]
A
Perhaps because of their association with royalty, the little figures always seemed exclusive and desirable. Their heyday came in the 18th and early 19th century. As transport improved, aristocratic courts across Europe multiplied and tailors around the world began to order their own transportable mannequins to showcase their. Their wares. Men and women became fascinated by fashion for the first time, and especially in England, far larger numbers could afford it as a prosperous mercantile class emerged. This was the start of the fashion retail market. Every detail was perfectly made for the miniature mannequins, from the underwear to his or her hair and hats.
- [08:56]
B
Your hairstyle was extremely important. And hair like your coif or your coiffure, there's a lot of artifice went into it. It wasn't all your own hair. And hairstyles could be built up and up and up with extra wigs and things like that. And it was important for women that their hairstyles matched or they were following the latest fashions from France as well. So the dolls would also have these beautiful hairstyles and they'd have beautiful sh. They'd have beautiful jewellery. Everything was communicated. And they would also at times, have beautiful hats, because in certain occasions you would be showing off your hairstyle, but in other occasions you'd be showing off your hats. So both of these things had importance, depending on where you were going, depending on the occasion.
- [09:46]
A
The more I look at Pandora mannequins and their travels, the more they seem to skitter across the stage of history. You glimpse them out of the corner of your eye, but never quite see them full on. Perhaps because it's hard for us now to understand the fascination people had for them and the joy with which the news that a new set of Mannequins had arrived in town would be greeted. It wasn't just tea that the ships in Boston harbour were carrying. In 1773, which sparked the American Revolution, there was also a set of Pandora dolls on board too, or as they were known in America, French babies. In the wars between Britain and France at the start of the 18th century, the mannequins were exempt from trade embargoes, given a so called inviable passport and a sort of cavalry escort, and despite war, continued their journeys from Paris to London and beyond without hindrance. Gradually, as the 19th century progressed, the mannequins were replaced by cheaply published magazines with coloured fashion plates. And as the 20th century arrived, the plates were replaced by photographs. And by rights, that should have been the end of the little mannequins. But it wasn't. Pandora figures refused to die and they have gone on to have several more lives. And part of their power lies in the way they play on our imagination, our hopes and aspirations, our fantasies that clothes will make us somehow different, more attractive, more successful and seem wealthier. In 1945, Paris, like the rest of Europe, needed some of that. It was destitute. After five and a half years of war. To raise morale, to show the French themselves that they were still a capable nation with skills and style, and to raise funds for humanitarian relief, a new set of Pandora mannequins was created to send round the world. Over 50 French couturiers took part and they must have raided their pre war fabric stashes, no doubt secreted away during the occupation, to fit out more than 200 small wire figures which were arranged in a series of tableaux called Le tiatre de la mode, the theater of fashion.
- [12:29]
C
It was important for the French public to see after four years of occupation, that couture still existed and it had not lost its creativity or its fine workmanship. This is really important because they weren't necessarily created as a commercial advertisement by the French fashion industry, but they were more about making a statement about the ongoing creativity and workmanship that was present there. In Paris, the sets and the mannequins illustrated the links between the worlds of art and fashion, which had been something that had been going on in Paris since early in the 20th century. And that's why some preeminent stage designers and artists had been hired to create the sets. One of the, one of the really important things about the mannequins, they were being made in 1945 and 1946 is that they established the link between pre war and wartime fashions. And Christian Dior's new look that changed everything in 1947. And the last one, and I think this is extremely important, is what the Teatre Delta mode as it exists now is a collection of 172 outfits from 52 fashion houses, all from a single season. And that doesn't really exist in any other collection.
- [13:57]
A
That's Steve Graf, curator of art at Maryhill Museum of Art in Washington State, high above the Columbia river, about 100 miles east of Portland, Oregon. He's an expert in this post war collection of Pandora mannequins.
- [14:14]
C
They were designed by a woman named Elian Bonnabelle, who was a pretty well known illustrator in Paris. And at the time of the Teatre Delamode was conceived in 1945, she was working for Nina Ricci's fashion house and she had recently designed its logo. And according to the 1946 catalog, so that would have been the New York catalog, she was thinking of an outline sketch. And then she went from that to transforming that idea into three dimensional space. And that would suggest then that you could use wire to create a body with a plaster head that was light and idealized, let's say, and that they could be created to have different postures that then would work well with the fashions that were on them. And then the next step in the process. She had been working and worked in the future with a Paris sculptor named Jean St. Martin, who had himself been involved in creating a different kind of wire mannequin. And he was the person in his studio, in his apartment, who then made all of the mannequins out of wire. He shaped the wire, twisted the wire and then soldered it and made all of the mannequins. And. And there are photos floating around of him working on single mannequins. But I sure would have loved to have seen a photo of his interior space where there's dozens and dozens of them completed. The heads were made by a Spanish sculptor, Catalon sculptor named Jean Ribault, who was known for sort of graceful, slender figure forms. And he's the person who made all of the heads. So each head is unique, as is each mannequin.
- [16:09]
A
Each mannequin is just 27 inches high, around 70 centimeters. But despite their make do and mend genesis, they're full of life and ingenuity. Each figure has its own character and way of standing. Each stitch is perfect, every fold on the tiny wire shapes precisely executed. And they were dressed in millions of dollars worth of jewelry.
- [16:38]
C
So the important thing about the mannequins interesting. And it's something I have to keep reminding myself because I get carried away with the story that they were made to benefit France in general and. And their travel throughout Europe and North America was to. To help fund French relief. So there wasn't a commercial aspect to the tattoo della Mode in the beginning. There was an aesthetic aspect. And the fashion designer Lucien Lelong, who was president of the Organization of Fashion Houses, wrote an introduction to the 1945 catalog that accompanied the London exhibition. And what he said in the introduction is the Teata della Mode was not intended to represent luxury or lavish use of materials, but it was instead a proof of ingenuity and good taste. And I think absolutely, the traveling show affirmed that. And when we look at the pivotal point in sort of mid 20th century fashion design, which was Christian Dior's new look, that occurred in 1947. So if we go from 1945 and 1946 miniature fashions to this revolution, that really continued to encourage what was going on in Paris, that's a really, really small window. So I would say Teatre Delamo did exactly what it was intended to do.
- [18:15]
A
The mannequins went to London, Leeds, Stockholm, Copenhagen and Barcelona. And then they were sent to New York and lastly to be exhibited in San Francisco. And then they were almost lost from view. No one in Europe was quite sure what had happened to them.
- [18:34]
C
And after that exhibition, the jewelry was returned to France because it had maybe a 2 million dollar total value. And then the mannequins and the fashions were stored in the San Francisco City of Paris department store, appropriately in 1950. So a couple of years, several years later, the head of the department store, a man named Paul Verdier, at the encouragement of a San Francisco philanthropist named Alma de Bretteville Spreckels, who is also considered one of Mary Hill Museum of Art's four patrons, she encouraged Mr. Verdier to get together with the director of Mary Hill Museum of Art. They had a luncheon in San Francisco and talked about the collection coming to Mary Hill. The museum's director, Clifford Dolph, returned home and this was in 1950 and didn't hear anything for two years. And then in 1952, in the spring, in March, more than 80 cases with their original label still attached arrived at the museum. But the cases only contained the mannequins and the fashions and sets somewhere along the way had been lost.
- [19:56]
A
The sets were eventually recreated in Paris and the Pandora mannequins were reunited with their proper settings. There are 172 of the original mannequins in Washington state, a long way from home, but carefully looked after. Steve Graff says different types of visitors come to see them.
- [20:19]
C
We have neophytes, people who don't know anything about them, who kind of are wowed by, wow, this is strange. I thought the location of this museum was strange already, and now I'm really convinced things are strange here. That seems to be the majority of the people. We also have people who make the pilgrimage specifically to see the sets and the fashions. And some people will do that every two years as they rotate onto view. And then we have a third set where people come to see them because they think they're clever dolls. And just me personally, I bristle a little bit when the word doll is overused because it kind of diminishes the importance and the aesthetic value of the mannequins. Some people who use that terminology make me think of, and I hope they're not listening because they'll hate me. But you know, the kind of hobby collector who fills their living room with one doll from every country in the world kind of thing. Maybe dolls that were bought at the airport as they were leaving the country. And these are not those kind of dolls. This is a totally different thing. They are representative of a French fashion history that was several years, 100 years old at the time they were made. And they were created for a very, very serious purpose.
- [21:40]
A
These beautiful figures are now 75 years old. They have been round the world several times, not just before they got to Mary Hill, but on loan to other museums since then. And in 1988, back to Paris to be spruced up. But Steve believes they have worn well.
- [22:00]
C
Well, that's a great question because imagine any 75 year old clothes in your closet. Some fabrics will wear well and others won't, and some that have been exposed to light on the corner of a shoulder will be faded a little bit. Happily, for most of their lives, Tetra dell' La Moda has been stored in a museum environment with controlled humidity and controlled light and all of these other things. We have low light levels in the exhibitions. People complain about it all the time, but they are 75 years old. I think they look pretty well. The aspect of Tetra Delamo that's problematic for us right now though, is the mannequins themselves. Because if you imagine a wire that's a little lighter weight than a clothes hanger wire that's been soldered in dozens of places on a single mannequin, that's where the great Fragility comes is in the stability of the mannequins. And that's why they're handled so carefully and so infrequently. If we can make that happen.
- [23:19]
A
There are requests for them to travel all the time, but since 2015, the old ladies have rested in their homes at Mary Hill, too fragile to be shifted across oceans anymore. But that's not quite the end of this story. In 2020, another crisis reared its head and the idea of the Pandora dolls came to the rescue once again. This time, the COVID pandemic made it impossible to hold the usual catwalk shows with people bunched tightly together. The famous Paris fashion houses looked for an alternative.
- [24:03]
C
And as a result of that, Dior's fall winter creations were Showcased in a 15 minute long video that shows them. And that was in fact itself inspired by Theatre de la Mode. And what the video shows is a large crate with a drop down front that has a bunch of miniature fashions in it and a couple of men carrying them around so the different women can see them and then order them in full size. It's easy to find. It's absolutely worth 15 minutes of anybody's time. And then there's another one that's really quite lovely. Moschino's Spring Summer 2021 creations were presented in an online marionette show. And it's just fantastic because you've got people sitting behind the Runway that are miniature people, marionettes, and then you have marionettes in the spring summer 2021 fashions going down the Runway. And so I feel like, if nothing else, Teato Delamode was itself an idea that was spawned partially by previous centuries previous dolls that had been created to market fashions around the world. And then tetradido motorized at the end of the Second World War and now during the pandemic. Not dissimilar, creative way of responding to the problem. And so if people will just do a little bit of research, they'll see that it's part of a long tradition of really profound creativity and very, very skillful workmanship. To promote the French fashion industry, creating
- [25:45]
A
these new Pandora dolls has demanded a fantastically high level of technical skill to work in miniature.
- [25:54]
D
But the Dior collection was just, it was spellbinding. It was just so beautiful. It was just really stunning. And I don't like those. The people that make, that, make those clothes on their mannequins are just, they're just wizards. They're absolute wizards. To have the hands to be able to, to finish things perfectly like that was I Thought it was insane.
- [26:15]
A
Sean Byrne works and lives in Paris. He has a very particular calling in the production of modern fashion.
- [26:23]
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Colle.
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Here's a macatiste which involves, yes, working with miniature figures, the descendants, if you like, of Pandora dolls.
- [26:34]
D
And one thing that's used very heavily in a lot of the haute couture houses in Paris, a lot of the ready to wear houses in Paris are these little guys called maquettes and they're, they're little small quarter sized mannequins and you basically, you use your hands to create concepts with fabric. So it's a very free flowing way of design. You take a piece of cloth and it might just be some calico or if you're working with like a stiffer fabric, you might be taking a piece of kind of silk taffeta or some, or something like that and you're pinning it onto the mannequin and you're allowing your hands to kind of just work with the form and the shape of this little mannequin. And basically it kind of, it does your bidding for you in a way, develops your concepts along with you. It's almost like, for want of a better word, I remember doing it for the first time and my professor said to me, you look like you've done this for a long time. So she said this has, she said, this is where you need to go in fashion because this is what you're good at. And I was really pleased to hear that because when I started doing it, I didn't know if I was doing it right, I didn't know if I was doing it wrong. But with working with the maquette, there's no real right or wrong way to do it.
- [27:51]
A
For someone who is a designer of clothes, this skill frees up your imagination and creativity. It's an approach that's only taught in France, particularly at the wonderfully named Ecole de la Chambre Syndical de la Couture Parisienne.
- [28:09]
D
And I think it's something where you either have to, you have the free skill to do it or you don't. And I think, because I've thought about it quite a lot and I think it's basically just the way your mind thinks. And if you're not afraid of it, if you're not afraid of going outside the box and not, you're not afraid of like, you know, you're not thinking in millimeters and centimeters, you're thinking in a conceptual kind of way of doing things. If you have a mindset like that, it will work really well. With you. And there's a strange alchemy to it because you come up with designs that you never. You physically could not make these designs up in your head. It has to be done on this mannequin. And it's just a pleasure that I've allowed that I've had the opportunity to let it come into my life because it really gives me an awful lot of joy. Because even if I'm not working on anything to do with, like, if, if I'm not working on a project or anything, you can just sit with that mannequin for an hour and just play around, and all of a sudden you'll come up with kind of fantastic concepts that you'd never come up with with just pen and paper.
- [29:09]
A
Maquettes are used because they don't waste expensive fabric and because they set designers free to experiment in a way that flat pattern cutting doesn't.
- [29:20]
D
So a maquette is. It's a quarter size mannequin. So it's probably about. I'd say it's maybe 2ft tall, it has little arms on it, it has its own little head, and it's on a little dress stand. And you basically just. Yeah, it's just like. It's like a little miniature mannequin. So what I'm looking at is more of a concept kind of thing. So it's very related to that kind of that French heritage of designing on a smaller scale. It's really, really important in French fashion. And it's been around for, I know, a very long time. And for me, as a fashion designer, it's just, I'd be lost without it because it's such a help. And I think with the little guy, the little one that I have, you can just develop concepts very quick. And you might have a scrap of fabric that would be like nearly ready for the bin because it's so small. But you can do something. You can do something with it on a maquette.
- [30:17]
A
Each fashion house will have a team of macatistes working in house, producing possibly hundreds of ideas each week.
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D
So you would have your. You'd have your team of modelists who would be working on larger mannequins, and they would be doing things like tailoring, where you're looking at your centimeters, you're looking at your millimeters. But then for anything more like, you know, if you're a make, if you wanted to make volume in a gown, if you wanted to make volume in a sleeve, if you wanted, you know, large billowing skirts, anything like that, a macatiste would come in, and they would be very quickly able to put together those concepts. If a designer came in and said, today, I want to look at necklines, and I want to look at, you know, different kind of like, you know, small collars with volume underneath them, they would give the macatees the brief, and the macateiste could go away then for the whole day or for a week or whatever, and they'd experiment with different volumes very, very quickly. They could come up with a concept. And what's great about a macatista is you can put your little bolt of fabric on the arm of your mannequin, and within maybe a minute, you'll know if a sleeve that you had in your head is working or not. You take the photo of that, you take your fabric off, you keep the same piece of fabric, and you put it a different way. You put it upside down, you turn it around, you bring it up towards the neck, you bring your arm line towards the neck, you drop it down underneath. And it's a very quick concept because every two or three minutes, you're seeing different shapes. So it. It's evolving constantly. Whereas with the larger mannequins, it's a more. It's a cumbersome process. It's more. The larger mannequins are used pretty much for, you know, strict tailoring, whereas the macatees, you get to play around with shapes and, you know, you can see your design come to life immediately. So they're just. They're so useful.
- [32:08]
A
Sean's own maquette, which he keeps in his apartment, is called Madame Fufu. He believes the miniature mannequins like her are integral to creativity in design. So even today, the fashion figure, the little Pandora mannequin, has his or her place in creating and designing what we wear. Sean says the maquette opens new doors for him.
- [32:35]
D
It brings. For me, it sounds a little bit cheesy, but it brings my heart into the design completely because it's like a process between. Fashion is a very solitary work. I find being a designer can be quite solitary, and working on garments can be a solitary task. But you nearly have someone with you when you have that little mannequin. You know that it's nearly like you're working with it. It's helping you along the way.
- [33:10]
A
Thank you for listening. If you'd like to see some images of Pandora dolls, ancient and modern, or discover more about their history and read a transcript of this podcast, you'll find these resources at www.hapticandhue.com. listen how to up Dick and Hu is hosted by me, Jo Andrews. It's edited and produced by Bill Taylor and sound edited by Charles Lomas of Darkroom Productions. It's an independent podcast free of ads and sponsorship, supported entirely by its listeners, who generously fund us through Buy Me a Coffee or by Becoming a Friend of Happy, Haptic and Hue in this month's Travels with Textiles on Friends of Haptic and Hue, which goes out in two weeks time, we're devoting an episode to knitting and its history. One of the people we'll be talking to is Helen Wild from the National Museum of Scotland about the origins of Fair Isle knitting and why it became so popular popular in Victorian times and
- [34:26]
D
what Fair Isle knitting represented was handcraft. But also, even if it was a slightly invented history, an idea of something historic and rooted in place as well. And the way that Fair Isle was talked about in those early years in 1851 and in many of the later sort of marketing material and descriptions, it's very much about place, but also about the raw materials being very specifically the wool of the Shetland sheep and also the specific skill of the women of Shetland. What they represented was an escape from the ills of the modern world, and I think that's what they still represent, and that's why it's still such a sort of beguiling thing.
- [35:06]
A
To hear more and to have a chance of winning the textile gifts we give away with every episode, go to double www.hapticandhue.com join. But until next time, it's goodbye from me and enjoy whatever you are. Sam.