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Sample text

Fashion is conversely well documented and enjoys far greater respect as an artform in its own right. Even anti-fashion or ephemeral fashions can boast such cohesive textual appreciation as Ted Polhemus’ Style Surfing (1996). Yet the doll would surely sustain the recent manner of analysis that has been directed to fashion, gender and images of female beauty. Collectors’ literature on dolls often lacks vividness and diversity of purpose in comparison to fashion literature. Yet the difference in critical accounts should not obscure the strong similarities between doll collecting and fashion.

Sometimes there is a double representation, in which dolls are cast as living women and girls and they in turn hold, as their own dolls, identifiable product from the same manufacturer, as in a trade card produced for Bru in the late 1880s (Theimer 1991: 123). Dolls frequently inhabit a world of objects, furniture, plants and architecture that matches their scale, but also matches the visual style of the Second Empire and Third Republic. It is only textual components that firmly identify the figures as dolls rather than women or children, or perhaps that the plate may come from La Poupée Modèle rather than Le Moniteur de la Mode.

Marks 2001: 50) The Butterfly Ring set of dolls comes with a storyline about women transforming their lives through passing ‘self-esteem trials’. This storyline stands as an explicit answer to the criticism that fashion dolls impose an alien stereotype upon women or debilitate their sense of purpose and self-reliance. ‘Today they have all become confident, successful women. The symbolism is unmistakable. These seven emerged from their cocoons, transforming them into beautiful butterflies, and that’s the intrigue of this collection’ (Marks 2001: 50).

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Allure (April 2015)


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