ABSTRACT When the animate fashion model emerged in the 1870s, cultural observers were quick to note the many paradoxes the ‘mannequin vivant’ embodied. Occupying both private and public spaces and blurring the ontological divide between the original and copy, the living fashion model questioned the boundaries between corporeality and mechanical reproduction. This essay explores the liminal position of the ‘mannequin vivant’ by situating it within another paradoxical relationship the model engendered, that of fame and anonymity. Accounts of the living fashion model during the fin de siècle period not only attest to the model’s ubiquitous media presence, but also to her anonymity. This essay proposes that the fin-de-siècle living fashion model, through its integration into the cityscape and its position in the cultural imaginary, was inextricably tied to the network of celebrity in ways that endure to this day.

中文翻译：

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展出：名望，匿名和Fin-de-Siècle时装模特

摘要当有生命的时装模特在1870年代出现时，文化观察家很快注意到“人体模型”所体现的许多悖论。这种生活时尚模型既占据了私人空间又占据了公共空间，并且模糊了原件和复制品之间的本体论鸿沟，从而质疑了有形性与机械复制之间的界限。本文通过将“人体模型”置于模型所引起的另一种悖论关系中，即名利和匿名性，来探讨其“主体”位置。在finsiècle时期，关于活着的时尚模型的描述不仅证明了该模型在媒体上的普遍存在，而且也证明了她的匿名性。本文提出了“fin-de-siècle”生活时尚模型，通过将其融入城市景观及其在文化假想中的地位，