fashion was used not in service of the narrative but for visual pleasure. Moreover, the

effect of "getting it on the screen" sometimes looked quite surreal.

 For the Surrealists, the mannequin was a familiar phantom object. While DeMille

was working on Madam Satan, Jean Cocteau was exploring the connection between the

real and the artificial through a mannequin-like statue that suddenly comes alive. In

Blood of a Poet (1930), a calcified Lee Miller is at first a surrogate for a living figure,

brought to life when the poet wipes off his disembodied mouth from a self-portrait on to

the Hellenistic model. As Barbara Vinken suggests, "The white beauty and majesty of

antique marble and modem fashion oscillate between the animated and the inanimate:

between a statue coming alive Pygmalion-like, and a living woman becoming an

inanimate statue" (62). Also that year, in Self-Portrait, Herbert Bayer established the

relationship between the living and the phantom object with an image of the

photographer himself as a mannequin whose arm is being disassembled.18 By the mid-

1930s, at the Exposition Internationale du Surrtalisme in Paris, the role of the mannequin

in Surrealist iconography was made explicit through the display of mannequins as dream-

like sculptures at city thoroughfares. As Richard Martin puts it, in that spectacle,

"Pygmalion was meeting Freud in a dramatic encounter" (50). Thus, the figure of the

mannequin, as a fertile metaphor for the human figure, enabled the Surrealists to draw

attention to the relationship between the real and the simulacrum.

 The appropriation of mannequins was part of a much wider exchange between

Surrealism and fashion. The Surrealists were not only interested in accentuating the

artificial but also in creating moments where the unreal would lead to a new order of

things. Rummaging like a chiffonier through older texts at the National Library in Paris,