100 Years since the Birth of the Shimadzu Mannequin
Exhibition of Japan’s Oldest Surviving Domestic Mannequins

The Shimadzu Foundation Memorial Museum is currently presenting a special exhibition commemorating the 100th anniversary of the birth of Japan’s first domestically produced mannequins.

A view of the museum

 

The Beginnings of Japanese-Made Mannequins

It may come as a surprise, but Shimadzu once manufactured mannequins. Drawing on “Shimadzu fiber” technology developed from the 1890s onward through the production of educational natural history specimens, Shimadzu began producing Japan’s first Western-style mannequins in 1925.

Highly praised for their quality, “Shimadzu mannequins” reached their peak around 1937, growing to capture more than 80 % of the domestic market. However, as the wartime situation intensified, production was halted, and the mannequin business was not resumed after the war. Incidentally, the company that was established when the employees who had been in charge of the mannequin business at the time went independent is Nanasai Co., Ltd., a mannequin manufacturer based in Kyoto.

The mannequins on exhibit this time are the oldest surviving Shimadzu-made pieces. Produced in 1925, this work is titled Elder Sister / Younger Sister. The work is by the sculptor Yasuji Ogishima and is part of Nanasai’s collection. Ogishima began creating mannequins after meeting Ryozo Shimadzu, the son of Genzo Shimadzu Jr. and the founder of Shimadzu Mannequin. Ogishima and Ryozo were fellow students at the Tokyo Fine Arts School (now Tokyo University of the Arts).

It has been 100 years since Shimadzu began manufacturing mannequins in Japan, but very little is known about the early period because surviving documentary records are limited. However, this exhibition of the oldest surviving mannequins was made possible by a specific donation.

Far left: A Shimadzu mannequin produced in 1929, currently on display at the museum

A Special Exhibition Made Possible by a Donation

“My grandfather received a doll directly from Genzo Shimadzu Jr. We still have it at home—would you like to come and see it?” Following this offer, a local resident donated a small figure approximately 35 centimeters tall to the museum at Kiyamachi-Nijo in Kyoto. Its dignified expression and the beauty of its form were especially striking.

However, it was severely cracked from the shoulders to the back, making it difficult to handle or even to stand upright. An inspection of the nameplate indicated that it dated from around the early 1900s.

Recognizing that it was a very old and significant piece, the curator decided to restore the small mannequin and exhibit it alongside the “Shimadzu mannequin” already on display at the museum.

“We Want to Display It alongside the Shimadzu Mannequin”—Restoration Begins

Given their expertise in mannequins, Nanasai was consulted about the restoration. It was decided that Nanasai would handle restoration of the body, while the clothing would be restored by Atelier Goto in Kyoto.

This request also led to the concrete planning of the current exhibition featuring the oldest surviving mannequins. Shimadzu had obtained a patent in 1911 for “Shimadzu fiber,” a material made by coating paper with resin; however, the donated figure was made of plaster rather than this proprietary material.

The restoration process involved first removing the costume, repairing the figure itself, and then putting the costume back on. The arms were designed to be detachable, inserted into the torso. By contrast, the bodice and skirt were adhered to the figure and could not be removed, so they were restored while still attached to the body. The jacket was finally finished by reinforcing it with backing fabric and stitching it from the reverse side.

The mannequin has not yet been exhibited, but the curator notes, “We plan to continue our research while displaying it alongside the Shimadzu mannequin in the future.”

These figures are notable for their dynamism, their pensive expressions, and their boldly sculpted feet. Standing before the actual work, one can feel its presence and the atmosphere of its era.

Elder Sister / Younger Sister mannequins by Yasuji Ogishima. The special exhibition consists of these two pieces only. The detachable arms no longer survive