Mannequins such as the Siegel-Vigneau had very seductive with undeniably lifelike bodies significantly contributed to the success of social as well as cultural reconstruction. Surrealists perceived women as in an erotic and decadent disguises who were actually predators in life of men due to their passive sex as well as accessibility which prompts men to be attracted to the female bodies. Female bodies were turned into elements amongst the surrealists because a body could also attract attention and communicating information. A body could reveal some of the most hidden meanings behind its restructuring. Most images were therefore belonged to the repertoire of surrealists although some of them lost their origin in favor of sex appeal. Sexual appeal of a woman’s body was crucial since a woman was considered a sexual object whose life is engrossed exclusively with sexuality (Emanuel 2006). Initially, mannequins were so heavy and were more unrealistic creations which were made of wax and could melt in the summer heat. However the understanding of women psychology led to great imperfections that made mannequins look like real women bodies. It should be noted that surrealism became very prevalent in 1930s particularly to the public where their artwork became the model for international exhibitions. Visual style artwork became dominated the period between 1930 and 1935 by Dali and Magritte. During this period art served a significant purpose as a way of expression that included hallucinatory imagery (Beck 2007). Surrealism came up with visual techniques that incorporated giving ordinary objects their usual meaning so that they could compel to the public. Audience’s empathy would therefore be aroused because of the image characteristics which were more than just ordinary formal organization. 1930s was characterized with stylistic evolution that included a mixture of depictive and the emotional elements which were very necessary in influencing an audience. Mannequins actually reflected fashion models but some of the headless mannequins represented would make someone think that it had been sliced thus representing scene of a brutal war (Stewart 2008). Mannequins were made to fit dress maker’s form thus reverting them to look like shop mannequins. Shop mannequins were however not made to represent any form of personality or lifestyle but simply to show the outline of the garment. This was really amazing because the objects simply drew attention to how they were created rather than the dress they were wearing (Emanuel 2006). Someone would not think much about the garments on the display despite close imitation of the tailor or designer’s dummy. Representation of the mannequin to the clients became very important hence prompting the introduction of heads and limbs to the headless and limbless mannequins. The most appealing mannequins were the ones which were introduced in the 1930s which had movable limbs making them seem as if they were engaging in some activities. Movements of the limbs proved useful in representation of the lifestyle (Thesander 1997). Surrealists greatly incorporated art into life by relating subject and object in their work. The mannequins were greatly designed by artists who made them look like body objects. Mannequins were nicely used to define surrealism since it
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Mannequins Name Subject Date Surrealism which was a cultural movement is popular for visual artworks that feature elements of surprise. Visual artwork and other artworks were largely affected by surrealism Mannequin has always been used for a long time as sculptural equivalent of fashion model and was largely intended to reflect social, professional as well as aesthetic aspirations…
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This essay focuses on fashion and media that both have always existed in close proximity. The relationship between fashion and media has been pronounced, particularly in the modern age, with the rise of innovative information and communication tools such as the internet and the pervasiveness of media in mainstream society.
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aturing the painting of a talented artist or the creation of a skilled sculptor, the cover of the magazine presented a reproduced outfit by Japanese fashion designer Issey Miyake. From the point of view of Artforum’s editor, the magazine justified its selection of featuring
8 pages (2000 words)Essay
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