‘Details make perfection, and perfection is not a detail.’ – Leonardo da Vinci.

If we had to find a quote for Stockman, this would certainly be the closest. Its story began in 1867. At the time, Frédéric Stockman, a young sculptor of Belgian origin, had a visionary idea: to create sturdy, modular and realistic dress forms that would allow designers to work on a three-dimensional silhouette. From there, he developed papier-mâché busts entirely by hand in different pre-established sizes. After a modest start, Stockman joined forces with Mr. Siegel, a specialist in realistic mannequins, and saw his sales skyrocket. His relationship with the fashion world grew stronger than ever, cementing his place in the industry, notably with Dior in 1947. Firmly rooted in its workshops in Gennevilliers since 1980, Stockman now produces between 25,000 and 35,000 busts per year and has established itself as the global benchmark for couture busts.

Louis-Michel Deck, general manager of the institution, welcomed us to the famous factory in the Hauts-de-Seine region near Paris. In the 1,500 m2 space, a human chain comes to life around craftmanship, transmission and, above all, a history synonymous with excellence.

Tailor-made heritage

When we think of Stockman, we immediately picture its numerous mannequins, its iconic signature and its undisputed presence in fashion houses. What is difficult to imagine, however, is what lies behind this papier-mâché frame.

In its huge premises, still in its original state, it's like taking a leap back in time to when machines hadn't yet replaced us. The tools are vintage, but the manufacturing process is ancestral. In total, around twenty people take turns to bring the mannequin to life in an almost millimetre-precise 72-hour dance.

The starting point is the choice of mould, based on the order and the customer's wishes. Once selected, the mould undergoes a rejuvenation process with a new skin of recycled papier-mâché, applied sheet by sheet by hand. Once ready, the bust is left for a dozen hours in a tank at around 60 degrees celsius with its counterparts. And the process has only just begun.

The silhouette is then removed from the mould and meticulously repaired before being left to dry in the open air for twenty hours. From there, sanding will make the porous surface completely smooth, ready for dressing, which is certainly the most complex part of the whole process. Here, the seamstresses are tasked with covering the sculpture with a layer of wadding and then another of canvas, with the precision in the stitching that Stockman is renowned for. Once properly lined, the bust completes its journey through the carpentry and metal workshops and finally on to assembly, marking and packaging, marking the end of production and its departure.

At one of these stages, we met Nelly, who has been working for the company for thirty-six years. After various experiences, she joined Stockman as a ‘gluer’. With a CAP (vocational training certificate) in sewing, and following difficulties with her hands, she moved on to dressing mannequins in 2019.

For her, what makes the company's expertise is the transmission of knowledge. ‘I passed on my knowledge when I was a gluer. When I changed jobs, the seamstresses passed on their knowledge to me in turn. And I thank them for that! It's a whole, a cohesion, a group, a Stockman family,’ says Nelly, while continuing to sew.

With manufacturing based entirely on craftsmanship, it is often difficult for a company to remain impervious to technology. As it has evolved, Stockman has chosen to work with technology, without involving it too much. "As we have evolved, we have introduced 3D technology to get closer to our customers when it comes to custom orders. This allows us to be more precise and faster. We can directly adjust body types before production using computer software, get a preview of the final product and, above all, avoid back-and-forth communication. For everything else, we haven't changed a thing," explains Louis-Michel Deck.

An intimate relationship with fashion

With over a century of experience, Stockman enjoys undisputed recognition in the fashion world. From one showroom to another, the busts are always signed by the same manufacturer. The same goes for boutiques, fashion schools, sewing workshops and even small businesses. The stamps on his workbench, used to mark the mannequins, justify this ubiquity: Dior, Louis Vuitton, Chanel, Givenchy.

Louis-Michel Deck continues: "Our relationship of trust with the fashion houses is established by our seniority. It all started with Christian Dior in 1947, when he designed the B306 bust for us. Today, our client portfolio covers all aspects of couture and haute couture. But it's even broader than that. From fast fashion to students, emerging designers and private individuals."

As the true foundation of creation, Stockman does not hesitate to adapt its services. ‘Sometimes it's specific measurements, other times it's unique shapes or customisations. Our latest major collaboration was with Maison Margiela, which made Stockman skirts inspired by our busts,’ adds the general manager

As for its future, the company is confident but humble. ‘It's impossible to see into the future. But our customers cherish what drives us: our expertise, our precision craftsmanship, our worn hands. Clearly, people love it and keep coming back, so it should continue,’ adds Louis-Michel Deck in conclusion.

Article written by Tom Kuntz to be found in Volume 11 of Oniriq Magazine

Translated by Bethszabee Garner