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- The combination of qualities that form a person's temperament
- constitution: the way in which someone or something is composed
- The composition or constitution of something
- makeup: an event that is substituted for a previously cancelled event; "he missed the test and had to take a makeup"; "the two teams played a makeup one week later"
- Cosmetics such as lipstick or powder applied to the face, used to enhance or alter the appearance
- constitute: form or compose; "This money is my only income"; "The stone wall was the backdrop for the performance"; "These constitute my entire belonging"; "The children made up the chorus"; "This sum represents my entire income for a year"; "These few men comprise his entire army"
- Christian (1905–57), French couturier. His first collection 1947 featured the narrow-waisted New Look, with tightly fitted bodices and full pleated skirts. He later created the A-line style
- Headquartered in Paris, Christian Dior S.A. (more commonly known as Dior) is a French company which owns the high-fashion clothing producer and retailer Christian Dior Couture, as well as holding 42% of LVMH Moet Hennessy • Louis Vuitton, the world's largest luxury goods firm.
- French couturier whose first collection in 1947 created a style that became known as the New Look (1905-1957)
- The Stewards of Gondor were rulers from J. R. R. Tolkien's legendarium of Middle-earth.
- a painting of a naked human figure
- bare: completely unclothed; "bare bodies"; "naked from the waist up"; "a nude model"
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Article from Telegraph London
Twiggy, Joanna Lumley, Erin O'Connor, Agyness Deyn... All these supermodels, and more, kicked off their careers as a Rootstein mannequin. Nisha Lilia Diu takes a tour of the factory - and of the remarkable archive.
Yet the shop window, more than any other outlet, is where we first set eyes upon the latest designs. Fashion designers know this.
They know the importance of getting the right body, pose, hair and make-up to show off their collections - so they go to Rootstein Display Mannequins, the Rolls-Royce of their trade.
Rootstein's first mannequin appeared in London in 1966.
Adel Rootstein, a blunt South African who designed sets for the theatre and made props for shop-window displays, decided the wasp-waisted, mumsy-looking mannequins of the early 1960s looked ridiculous wearing Ossie Clarke and Biba designs.
So she hired a 15-year-old model she'd spotted in a newspaper advertisement and had a sculptor friend create her likeness running, crouching, leaping - anything but the dainty one foot forward, one foot back poses of the past.
'London was hip!' exclaims Kevin Arpino, the company's creative director. 'It was Carnaby Street and the King's Road.'
The model was Twiggy. By the time the mannequins went on sale she was a huge star - and Rootstein's were the only mannequins the fashion industry cared for.
'We always use new faces,' says Arpino as we walk around the company's factory in west London (there are now also factories in Brooklyn and Kyoto).
A tall man of indeterminate age with an intensely black quiff, a deep voice and an even deeper tan, Arpino has been with the company for 27 years, taking over when Adel retired in 1990.
The factory is not somewhere you'd like to find yourself alone at night; everywhere you look there are crates full of ears, endless shelves of hands, limbs dangling on hooks and heads in boxes.
Countless photographs of models with their mannequins line the walls: Pattie Boyd, Jean Shrimpton, Sandie Shaw, Joanna Lumley, Marie Helvin, Catherine Bailey, Joan Collins, Yasmin Le Bon, Erin O'Connor and Agyness Deyn are all there.
It's a testament to the company's ability consistently to spot future icons amid a model agency's new intake.
There have been blips - 'Adel refused Linda Evangelista because she thought she was too short. She was also offered Kate Moss but she thought she was too short. Adel was going through an Amazons thing at the time,' Arpino says, with a resigned shrug - but this is a creative team with an extraordinary instinct for trends in both clothing and body shape.
In 1989, when most mannequins were broad-shouldered and slim-hipped, Rootstein hired the voluptuous socialite Dianne Brill. A year later she was in the windows of Saks and Bergdorf Goodman in New York and Harrods and Browns in London, just in time for the Wonderbra phenomenon. (Agent Provocateur uses the Brill mannequin in its stores today.)
Later in the 1990s Rootstein produced a line of headless, androgynous, white-gloss mannequins in anticipation of a pared-down, architectural look that came to dominate all areas of design.
'Stores like Comme des Garcons and Issey Miyake became very simple and gallery-like. They'd buy dozens of identical mannequins and have them in repeating rows. [That style] still looks fabulous,' Arpino says.
This was followed by a collection of very lively poses - swinging hips, gesturing arms - which was perfectly timed for the boho trend earlier this decade. 'Floaty clothes really need mannequins with a bit of movement to bring them to life,' explains Arpino. 'Otherwise they just hang there.
'I keep an eye on everything,' he tells me. 'The club scene, architecture, shop design. I meet with model agents. I go
to catwalk shows. I get every magazine under the sun.'
But the best way to forecast fashion, he says, is to attend the fabric shows, 'because you can see trends coming in advance - like when stretch fabrics started selling a few years ago you knew that clingy, Herve Leger look was coming.
Or denim, which started selling like mad a year ago and is all over the place now. Lately I've noticed gabardines are popular, so you think: tailoring's coming back.'
Spotting trends early is essential, because Rootstein's mannequins take forever to make: 18 months from conception to completion. Having decided what kind of girl (or boy) he's looking for, Arpino holds a casting of potential models.
The chosen ones each spend three weeks with one of Rootstein's two sculptors. A life-size clay model is made, from which a plaster mould is taken.
Then a plaster original is cast and any blemishes - which will show up horribly under shop lights - are carefully sanded away.
Arpino walks me into the dust-coated sculpting studio where we find one of the sculptors alone with a nude mannequin. He is lovingly caressing her collarbone with a small square of sandpaper. How long does the sanding take? I ask him. 'About a week,' he says.
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