The Visit

A doll - fashion or otherwise - is the offspring of an intention. Sometimes, that intention is crassly exploitative, aiming to simply make money. But even in such a situation, said doll still will possess a truth to and about those who will -captivated by what they see- welcome her in their collections. And once on display - in or out of the box, the doll will transform and become part of a dichotomous reality, one that is both illusory and ever-so-tactile. 

Dolls created by independent artists carry a most different substance as their original intention - despite being offered for sale - is to present the specific aesthetic perspective  -full of meaning and motive - of their creators. These creations will also become - once in dynamic exchange with their admirers, unique representatives of aspirations and perspectives. 

Be what the doll be, Dolldom is fascinated by the that which the doll expresses, as that message is as much the product of the objective elements that compose the doll as it is the subjective interpretation of them. 

Photography is the medium via which Dolldom engages in that visual study that later, carefully combined with words, will create what will hopefully be a celebration of humanity's exploration of itself. Why would we, through millennia, have worked so assiduously to replicate the human form? What is it that we aim to find, to understand and to see in a doll? 

Independent doll artist Joey Versaw, creator of, among many others, the fabulously bodacious Miss Mary doll - one of Dolldom's most beloved darlings, and his YouTube channel are the vlog equivalent of our blog, and via substantial conversations with doll artists, Versaw focuses on documenting the diverse pursuit of the capturing the human essence in doll form. 

For this interview, Dolldom prepared a special imbibe honoring Versaw's Miss Mary. Here's the recipe:

1 part gin, poured over a big ice cube.

A delicate and ever so limited pouring of Campari.

A cranberry or two, cut in half. 

Once the gin is cold and has bloomed, add the Campari and mix. Strain and pour into a cocktail glass with cranberries. 

Also for this interview, Dolldom set a special display of dolls to provide a context to our creative process. As the Miss Mary cocktail had already had its intended effect, not all dolls were properly placed in front of the Zoom camera and the accompanying photo portfolio aims to present them in their full glory. 

Dolldom thanks Joey Versaw for including our voice among those of creators who have had an immense impact on our own pursuits. 

A vintage composition ventriloquist doll - a clone of Charlie McCarthy - by Freundlich Doll Company. 

A Licca Castle doll in a gorgeous gown by Endangered Sissy. 

Hildy, one of Versaw's characters from his Pulp Dolls line. 

Viktor Dreary by Tonner Doll Company in a fashion by Andrea Jacques of The Doll Workshop. Hat by Peggy Feltrope. Inset eyes by Jim Dandy. 

Tallulah, another inspiring character from Versaw's Pulp Dolls. Wig by Yatabazah. Dress by Retros. 

Petworks' Nine in a kimono by AyakaDoll on Etsy.

Versaw's Meadow, a tribute to French illustrator Kiraz's Les Parisiennes art. 

Fabulous Ivy Jordan, by Mel Odom, as manufactured by JAMIEShow Doll. Glasses and bag by LizRetros. 

Dolldom and Versaw have enjoyed collaborating for more than 20 years. Being part of Versaw's artistic pursuit has been and is Dolldom's honor.

JAMIEShow Muses Daniel elevates the concept of the 1:6th coded-as-male doll being made of resin with a hand painted face-up. 

Anna Egorova's Alexander for her Solarwind Dolls line is exemplary in its intention to make us consider what a doll is and can be. 

Another Licca Castle doll, this time a 1st gen reproduction in a dress by INOMI.

Takara's vintage Wataru-kun in original fashion. 

Vintage Nancy by Poupée Bella. 

Tonner Doll Company's Sydney Chase redefined the fashion doll once she debuted. This version has a hand painted face-up by Sherry Miller.

DEFA Lucy - a relatively new entry in the collectible fashion doll arena - is providing collectors with high quality, inspired design, and affordability. 

Versaw's Myle's autonomous definition of masculinity breaks free from patriarchal limitations. 

Julian Kalinoski's Lilli Lalka not only reproduces vintage doll making techniques but is imbued with her maker's philosophy of creative expression. 

The exquisiteness of AyakaDoll's gofun creations, textile selection, and immaculately precise design executions is not to be missed. 

Memen and Tomori, Bones mignonette twins by porcelain doll artist Katarina Karsberg close the show. 

A Gene-ius Conversation

To sit and to listen to a conversation, substantial, rich, and revealing is truly a gift in a world that relies more and more on the exact opposite. But independent doll maker Joey Versaw and his YouTube channel provide an opportunity for dollectors to take the time to sit and listen and enjoy fashion doll repartee like no other. 

The latest video features the iconic Mel Odom, illustrator, painter, and creator of the seminal Gene Marshall doll. Without Gene Marshall, the renaissance of the fashion doll at the end of the 20th century would have not occurred, and listening to Odom provide the context - biographical and artistic - for her creation is enriching, and for those who experienced it, a rewarding memory. For those who did not, the interview is invaluable. 

To celebrate the event, Dolldom revisits a portion of the many images of Gene Marshall, friends, and of course, Madra Lord! Here's to the art of conversation!

A Japanese Icon

A foundational principle in Japanese aesthetics is the awareness and acceptance of the transient nature of life: mono no aware. In Japan, the celebration of the blossoming of the cherry tree is not because said species is more beautiful than others, but rather for the fact that this abundant expression of subtle color and scent -at its peak - will not last more than a week, propelling those with a perceived longer life-span to go out and -in the most exemplary expression of moment seizing- marvel at beauty finite.

For many dollectors, a cherished character is more so when it belongs to a similar category of elusiveness, as its appearance in the market was – just like with cherry blossoms – short lived. But do not think for an instant that the irony escapes us, as being made of vinyl and other manifestations of plastic, vintage dolls will outlive us, just like cherry trees will bloom every spring and some of those who stood under their fleeting canopies may not be there to experience the rebirth of nature. We value a rare doll, such as Japanese Exclusive New Midge, as an exemplary expression of market-driven ephemerality, and enjoy her more due to the awareness of our own chronology.

Because of her limited run, New Midge is a doll that holds much information as to how to (or not to) promote a culturally specific product to a differing aesthetic and moral mindset. Mattel did exactly that work before the release of the Barbie doll in 1959, hiring psychologist Ernest Dichter, whose calculations about mid 20th century societal expectations for women defined the successful advertising of the Barbie doll in the United States. But for 1960s Japanese society, we could infer that, these considerations were not socially and culturally relevant. As part of Barbie’s family, Ken, Skipper, and Midge presented a play option to Japanese children – that according to lore – did not win them over, nor their parents, back in the mid 1960s. Japan, the country whose work ethic and skill gave us the quality that defines the original Barbie doll, was at odds with her looks and concept. Mattel, set on universalizing the Barbie look, did not change her appearance (kimonos, on the other hand, were offered as fashion options) but allowed adjustments to other characters. First to show a transformation was Skipper whose eye paint design showed appreciation for what should have been, in Dolldom’s opinion, Mattel’s first and foremost point of departure when marketing the Barbie doll in Japan – Shōjo manga. Then there was Midge, Barbie doll’s best friend. With her freckles and wide-eyed gaze, Midge’s aesthetic must have been as pleasant as the sight of her Chironomidae namesakes and Mattel agreed to produce a “new” version.

Although fashioned with a molded coif in the style of Miss Barbie, Fashion Queen, and Wig Wardrobe Midge, New Midge’s face is unlike any other in the realm of Barbie dolls offering an original and highly detailed sculpt with beautiful dark brown left side-glancing eyes with a glint expressed by a single white dot, a generously-proportioned nose with a swooping profile, a deep filtrum, and a substantially lipped mouth whose bottom section has a dramatically detailed vermillion border. Yet the true magic of the sculpt is evidenced in the ambiguity of her expression: when faced, New Midge can seem emotionally detached; if looked at from below, her demeanor turns to questioning; observed from above, it’s possible to catch a slightly smile. When studying illustrations from the period, one can surmise that New Midge mirrored the look of Shōjo manga heroines. But, perhaps New Midge was merely referential and not the offspring of this artistic current, like Takara’s Licca-chan would be in 1967, and failed to reach sales expectations leading to her retirement after two years, making her as elusive as Greta Garbo post her departure from MGM and a de facto must have in the wish lists of many vintage Barbie doll collectors.

In this first entry for 2026, Dolldom celebrates the iconic Japanese Exclusive New Midge with a photo portfolio showcasing her unique character in fanciful couture.

"Hello, Licca-chan!'

"Hello, New Midge!"

Vintage Mattel PAK satin skirt pairs with Fashion Queen Barbie's swimsuit. Reproduction Sears mink fur by Sylvia Campbell. 

Vintage Shillman coral and silver lace gown. 

Hand knit dress by Crest of the Hill Knits on Etsy. Hat by Cindy Marut for Cindy's Barbie Boutique on Etsy.

 Mod pantsuit by Cindy Marut for Cindy's Barbie Boutique on Etsy. Vintage "Blossom" wig by Monique. 

Be it with hat by Bogue's Vogues or a wig from Midge's Wig Wardrobe, the pink dress by Sylvia Campbell takes center stage. 

Vintage handmade dress is evidence of real love and talent. The hat by Maryann Roy takes it into the realm of sensational. 

Reproduction kimono by Sylvia Campbell. Vintage "Blossom" wig by Monique. 

Brocade wonder by Rosina Haskell for Rosiebows Mini Couture on Etsy. Wig by Yatabazah. 

Vintage "Holiday Dance" designed by Carol Spencer. 

Reproduction PAK sheath dress by Marirose Designs on Etsy. Hat from BFMC's Muffy Roberts. 

Playsuit with matching hat by Marirose Designs on Etsy. 

Grand gala in Sylvia Campbell's emerald variation of a Japanese exclusive gown. With wig or with molded hair, our icon possesses the room. 

Two icons together: New Midge and The Golden Gate Bridge. Equally iconic is LizRetros' gold Lurex mini with hand beading at neck and sleeves. 

The original fashion royalty in vintage "Sophisticated Lady" designed by Charlotte Johnson and Fumiko Miyatsuka. 

Marirose Designs' playful dress pairs well with a wig by Yatabazah. 

The Crown. In Julian S. Kalinowski's reproduction "Beautiful Blues" New Midge meets her previous iteration. 

Sunday outing in a vintage hand-knitted pant set found on e-Bay. 

Vintage handmade day dress found on Etsy provides a fresh look for our gorgeous heroine. 

Cocktail hour elegance in Mark Esposito's dress for his Etsy store Markofashion. 

A secret magic garden of delights is best evoked by this vintage handmade gown with appliquéd roses found on e-Bay with which we close this first Japanese exclusive New Midge fashion show.