Four mannequins with humps, curves and voluptuous pose in the entrance hall of the Museum of the History of Costume as part of the work "Defective bodies. Sovereignty of clothing" by the artist Victoria Azcona, who takes as a starting point the book "Method of the Mendía System" (1952) to remove from anonymity those bodies considered abnormal within hegemonic aesthetic standards and convert them into textile art. In this exhibition/installation, the Argentine visual artist, costume designer and teacher Victoria Azcona works on the problem of bodies that are outside the size parameters established by the clothing industry, bodies that are socially considered defective and those who are excluded from the industry. For the development of the exhibition, he started from the book "Método de corte Sistema Mendía", in its 36th edition, from 1952, a manual intended for women housewives, which included molds to make clothing by hand. At that time, the body considered hegemonic implied a "wasp" waist, "very small and very marked," says Azcona. "The waist icon of 1950s fashion is Evita, that ideal we have of her with her high-waisted dresses or those little suits she wore that is a bit, let's say, the ideal of beauty of that time," he exemplifies.