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Evolving mannequins in Jacques Becker’s Falbalas (1944–45)

2017; Intellect; Volume: 6; Issue: 2 Linguagem: Inglês

10.1386/ffc.6.2.141_1

2044-2831

Sylvie Blum‐Reid,

Historical Studies and Socio-cultural Analysis

Abstract Fashion is prominently displayed in Jacques Becker’s Falbalas (1944), through the presence of mannequins, both living women and display models. Falbalas is an unusual French film that incorporates both a contemporary fashion house and the creation of a couture collection during the Second World War, which marks a key moment in the history of fashion and cinema. Living and still mannequins are part of a skilful cinematic mise-en-scène, carefully elaborated by an imaginative filmmaker conscious of the power of theatricality. Jean-Paul Gaultier credits the film for starting his career in fashion; he was, and still is, influenced by the way the models moved, or ‘evolved’, in Falbalas, rather than by its plot. Falbalas, heavily marked by Paul Poiret’s theory on mannequins, was orchestrated by couturier Marcel Rochas. Falbalas plays with the spectator on various levels, following the way in which the film’s designer plays with his models, both living and still. The mannequin resists Philippe, and comes to life at the end, signifying the death of an era, but also paradoxically the birth of a new style.