DISPLAY MANNEQUINS BRANDS

In the 1950’s The PUCCI family business was a name synonymous only with repairs. But when Ralph Pucci headed up the business in 1976 Pucci started manufacturing their own line of window mannequins.

Today the 15,000 sq. feet gallery-like showroom in Manhattan is filled not only with mannequins but with lifestyle furniture, artifacts and artwork too. Early on, the Pucci Mannequin company quickly made a name for themselves as separate and distinct by producing lifestyle and athletic poses that very much captured the spirit of the Calvin Klein and Bruce Webber era.

"We kept very much in the mood of those avant garde times” says Pucci. “We set ourselves apart by spraying the mannequins black or red and took a far more architectural approach by producing mannequins reclining and relaxing. And we’ve always encouraged artists and creators to be involved in our process to keep our vision fresh.”

Among some of the most memorable mannequins produced by Pucci include lifelike renditions of Christy Turlington and Beverly Peel for exhibits at New York’s Metropolitan Museum. However, the biggest changes occurred once they started experimenting with fashion realism and in turn took it upon themselves to commission fashion illustrators and designers to help realize new ideas.

"Two such influences were designers Anna Sui and Karl Lagerfeld” says Pucci. “When you commission outside people you get a re-invention if you like of the world of display mannequins.”

During the time when they commissioned architects like Andre Putnam the models turned out very sculptural - which you might expect. There were a series of Egyptian-looking models finished in gold, bronzes and silvers with real earth tones - and half vase, half woman in shape.

The ones designed by Anna Sui were different to say the least. Close to the signature style of the designer, they sported whimsical blue, orange, pink and yellow hair and some had pure white bodies or pure blue bodies. “Anna Sui’s were flapperish reminiscent of the 1920’s combined with a 1960’s attitude and flea market body pose” says Pucci.

It’s not surprising then that model Michelle Hicks was Sui’s inspiration. “The window mannequins were produced in five body tones with five different faces including lavender and other soft muted tones. They had very big doll-ish eyes, tiny red lips and made up a collection that was immensely successful.” This collection although pure fantasy was still modern, clean and simple

And once again this collection showed Pucci’s versatility and caught the eye of Saks 5th Ave. They loved the body language and Pucci custom-made the whole collection in a high gloss white, with no make up and minimal adornment.

Perhaps the most memorable and innovative were the series that illustrator Kenny Scharfe came up with for a Christmas collection. “One-eyed creatures and flying space-alien style mannequins with rhinestones for eyes wound up adorning all Saks 5th Ave. windows and Santa’s sled flew through space that year” quips Pucci.

llustrator Reuben Toledo perhaps took on the most daring social challenge in modern window mannequin making. After producing an accessory display line for Pucci based on a creature that was half-bird half-woman, his most recent collection called ‘Shapes’ featured a line of petite and plus-sized models designed to be displayed altogether.

’Shapes’ featured a size 18-20 display mannequin  together with a petite series and a very tall 6’ 2 " model. “The big ‘Bertie’ as we called the plus-sized mannequin, caught the nerve of a lot of magazines,” says Pucci. “We were not afraid to make her a very big size with a big rear-end but we still made her sexy. Other companies have done big mannequins, but really she was the first very hip large mannequin. The body skin tone was white with a water wash black-and-white treatment for the face that you’d expect since an illustrator designed her. But more to the point, she was designed to be dressed in a hip way with fun, skin-tight, revealing outfits.

In fact, Toledo’s wife Isobel dressed the line and in particular she chose to dress the big ‘Bertie’ just the same way as a regular size four - right off the fashion runways. We felt it was time to show our customers that all size people go to hip clubs, restaurants and so on.”

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