Title: Dolls Beyond Play: Investigating the Transformative Role of Abject Dolls for Adults
Author: Olivia Sinclair
Publication Year/Date: May 2024
Document Version: Fine Art Hons dissertation
License: CC-BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/4.0/
DOI: https://doi.org/10.20933/100001303
Take down policy: If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim.
Word count: 7654
A dissertation submitted in partial fulfilment of the requirements of a Bachelor of Arts (Hons) degree in Fine Art.
Duncan of Jordanstone College of Art & Design
University of Dundee 2023-24
This dissertation shall focus on the relationships and interactions between adults and dolls. Through literary analysis, this body of research will discuss the social rejection of adults who play with or use dolls. Focusing on the controversial reborn dolls, this discussion will make an overarching introduction to Julia Kristeva’s book ‘Powers of Horror’ (Kristeva, 1984) and her philosophy of abjection. Mark Hogancamp's remarkable story will bring chapter one to a conclusion.
The Second Chapter explores artists Emilie Steele, Paloma Smith and Jennifer O’Connell who all depict emotional and bodily abjection using dolls within their art. Discussing the unique narratives of each artist, the chapter turns to the autobiographical use of dolls linking with the final chapter.
The concluding chapter will introduce other philosophies from Kristeva’s ‘Powers of Horror’ (Kristeva, 1984) on the abjection of disregard for human life. This is explored via the controversial release of Monster High dolls and the work of Amber Hawk Swanson. A section regarding my practical work relates to the autobiographical use of dolls and abject bodies, which then closes the discussion about acceptance in society for adults who play with dolls.
Figure 1 Gloeckner, P. (2010) Untitled 10 Available at: https://www.orionwertz.com/post/phoebe-gloeckner (Accessed: 07.01.24).
Figure 2 Hogancamp, M. (2006) Untitled (Soldier) [Photograph]. 14 United States: Private Collection.
Figure 3 Hogancamp, M. (2006) Untitled [Photograph]. United States: Private Collection. 15
Figure 4 Emilie Steele (2017) Barb [OOAK BJD]. Stockholm (Viewed: 07.01.24). 22
Figure 5 Emilie Steele (2017) Barb [OOAK BJD]. Stockholm (Viewed: 07.01.24). 22
Figure 6 Paloma Smith (2023) BelindaandtheBloodoftheTrolls 24 [Polymer Clay, wood, acrylic paint, varnish]. London (Viewed: 07.01.24).
Figure 7 Paloma Smith (2023) Caribou[Polymer Clay]. London (Viewed: 07.01.24). 24
Figure 8 O'Connell (2024) Untitled [OOAK BJD, polymer clay, paper]. 25 New York US (Viewed: 07.01.24).
Figure 9 Amber Hawk Swanson (2006) Amber Doll Project. Available at: https://amberhawkswanson.com/Amber-Doll (Accessed: 07.01.24). 30
Figure 10 Amber Hawk Swanson (2006) Amber Doll Project. Available at: https://amberhawkswanson.com/Amber-Doll (Accessed: 07.01.24).
In a world where the therapeutic and artistic merit of dolls is underappreciated, this dissertation shall investigate dolls through the intersection of therapy and art. The intricate relationships between adults and dolls. Varying works of contemporary artists whose practices relate to this area will be discussed. This research aims to explore the social acceptance of dolls for adults, specifically those that portray the abject or have the abject projected onto them. Abjection can be experienced when feelings of discomfort or disgust towards something are evoked.
At some stage in life, dolls hold a fascination for most people; be it the artistry that goes into their making, the freedom given from self-expressive play or just the pleasure gained from admiring their aesthetic appearance. Thus, chapter one will explore the role of contemporary dolls marketed towards adults and consequently the cause for their popularity with their respective audiences. The unique world of reborn dolls will be investigated as a key example of therapeutic play within the community of adult collectors.
Chapter One will discuss Julia Kristeva's ideas and philosophies on corpses and the abject with reference to her book ‘Powers of Horror’ (Kristeva, 1984). The concept of abject dolls will be introduced via reborn dolls. To further explore dolls showcasing abjection, the 2010 documentary ‘Marwencol’ (Malmberg, 2010) will be analysed and how the subjects collecting, photographing and playing with action dolls helped him recover from a violent and tragic attack. Chapter one will conclude with a discussion of the advantages of adult doll play and its many potential benefits for psychology.
Chapter Two will propose some of the reasons behind adult collecting in the modern world, including the role that dolls play within contemporary art, with specific mention to 13th Block art dolls. Artists whose practices use toys will be discussed and Kristeva’s philosophies of abjection will once again be drawn upon. An introduction to the world of one-of-a-kind ball joint dolls (OOAK BJD’s) will be made, along with the various ways these artists portray the abject in an autobiographical sense and the advantages of this type of personal artwork.
The last chapter of this dissertation will continue to discuss philosophies by Julia Kristeva and her work ‘Powers of Horror’, in which disruption of order and disregard for human life from fellow humans are given as examples of abjection. Mattels’ Monster High Dolls and their controversies at the time of release will be explored, particularly the fashion dolls' connection to abject themes such as skulls and death. Artist Amber Hawk Swanson and the life-size sex doll she commissioned in her likeness will relate to various forms of the abject. Finally, I explore the importance of the abject in my own work. I discuss the conflict of using a Barbie™ doll as a vessel for my narrative through stop motion and wanting to strip her of the flawless and idealistic image that is attached to the brand. ‘Frankensteining’ the idealistic doll together with my own unique and relatable persona; Tracy. A short discussion shall sum up the importance of abjection within the autobiographical use of dolls, as seen in many artists work including my own practice.
Diversity in body and face aesthetics have been a recent priority when it comes to dolls, e.g. Barbies with skin conditions including vitiligo or the first doll with Down Syndrome. This concept has been seen particularly within collections from big-name brands (Barbie diversity: Mattel, 2022). However, the typical criteria for any doll is very simple, its form is humanoid. Within this, a doll's essence often relies on its function; plaything, collectable, sex object etc. Religious figurines, for example, differ vastly in significance compared to dolls bought for children to play with. However, all can capture entire lifetimes often reflecting the situations around them, growing and changing with the ages. The first collector Barbie™ marketed towards adults was considered to be the 1988 Happy Holidays Barbie™ (1988 Happy Holiday Barbie, 2006, Happy Holiday Barbie, 2010). It presented as a ‘special edition’ doll and it was not until after the speedy sellout that Mattel realised they had an entire untapped market of adult doll enthusiasts to campaign for.
Mattel Creations (Mattel Creations, 2023) is an e-commerce company and a subsidiary of Mattel Incorporated - the company that famously founded Barbie™. It contains a platform for bespoke fan-designed creations to be perused and bought by adult collectors, in a space specifically tailored to them (Mattel Creations, 2023). The website itself is sleek, and modern and has a distinct grown-up feel to it. Although aimed at adults, the Barbies and other collector toys under the Mattel Creations brand, are still the same polished and pristine dolls. They showcase closer attention to detail in clothes, accessories and hairstyles; highlighting finer craftsmanship and intricate designs. However at their core, they are alike the dolls available to children with the same moulding and articulation. These big-brand dolls do not change as we do, becoming complicated and messy as the years go on.
Dolls for adults might be seen as somewhat of a paradox as there is stigma that dolls and toys in general, are only made for children and this thought still lingers in society today. However, some people growout of thissuffocating tradition asthey are exposed to new ideas, interests and conversations through social media and contemporary art. One example of such a group may be ‘reborners’. These hobbyists create hyperrealistic baby dolls for their wide market of adult collectors. When purchased they are usually treated and cared for as real children (Fry, 2019). The reborn dolls are often bought by people who have suffered miscarriages, the loss of children, infertility and even stress or anxiety. Purchasers claim to find comfort in holding something that feels and looks just like a baby (Fry, 2019). While undergoing the process of bringing the dolls to life, reborn artists personalise the dolls as they see fit or as commissioned. This entails an intimate experience of airbrushing, painting and ‘bringing the dolls to life’ before the they are ready for ‘adoption’ (White et al., 2010). These dolls are extremely controversialoutside of the community itself particularly online. Some cynics think they provide unhealthy coping mechanisms, prolonging the denial stage of grief and sometimes creating obsessive collectors (To not understand ‘reborn’ dolls?, 2022).
To use reborn dolls as an example of existing toys for adults which display abjection, an introduction to Julia Kristeva's philosophy will be made. In her essay ‘Powers of Horror; An Essay on Abjection’, Kristeva describes the word abject as the undesirable or uncomfortable which is often rejected (Kristeva, 1984). One of the philosophies from her book regarding the abjection of corpses should be noted, in which she describes disgusting bodily fluids and functions as signs of life. Even when presented with concrete evidence of death such as a coffin or a flatline, there is still a distance from the death itself. If face to face with a corpse there is no barrier to hide behind “...corpses show me what I permanently thrust aside in order to live.”
Dissecting this quote, it becomes apparent that the abhorrence towards reborn dolls comes from cynics and the issue that they find the dolls to be creepy (To not understand ‘reborn’ dolls?, 2022). The passive, vulnerable nature of babies and the incredible realism of each doll, only heightens the feelings of disturbance. Reborn dolls take the form of and are treated like something that should be full of life and yet are devoid of it. The abject in this case is that of the baby, who is not alive and so must be dead; “The corpse, seen without God and outside of science, is the utmost of abjection. It is death infecting life.” (Kristeva, 1984 p.3). This may be why critics are so disgusted with the dolls, as reborn dolls are already so closely connected with themes of death or loss.
Comic artist and medical illustrator Phoebe Gloeckner travelled to Juárez (Mexico) to carry out research for a story on the numerous disappearances (presumably murders) of its female citizens, which had taken place there since 1993 (Chute, 2010). Her research was for the book ‘I Live Here’, a multimedia artist collaboration by Mia Kirshner. This paper documentary encapsulated stories of these atrocities and others, including the AIDS epidemic in Malawi and the ethnic cleansing that occured in Burma (Kirshner & Behrens, 2008).
Researching into the backgrounds of the femicides in Juárez took Gloeckner on a harrowing journey to meet the families of many young women and girls who were missing or had been murdered, some of whom were the same age as Gloeckner's daughter at the time.
Initially intending to depict the scenes for the paper-documentary through her distinct comic illustration style, Gloeckner set out drawing the stories by hand. To draw the scenes of sexual assaults and murder without references, she had to imagine the details of the brutal attacks and play them out in her head like a “3D programme” (Chute, 2010). In an interview for ‘The Believer magazine’, Gloeckner explains that this proved to be extremely taxing on her mental health and eventually lead to the cessation of production. “If you’re drawing someone being raped, you have to imagine raping them. You also have to imagine being raped” (Chute, 2010).
At thispoint, Gloecknerdeveloped the idea of using dolls to communicate these horrific stories instead of her usual method of illustration. This way, she wouldn't have to imagine it for as long, she could simply wash the blood off them after she was done, as if they were actors in a scene. Having never made dolls before, she taught herself how to sew and build sets. Each doll had clothes sewn for them but their faces were left blank. A distorted photoshopped picture of Gloeckner's or her husband's face would be superimposed onto the dolls post-production. This brought her physically and mentally closer to her art.
Fig.1 Gloeckner, P. (2010). Available at: https://www.orionwertz.com/post/phoebegloeckner (Accessed: 07.01.24).
Phoebe Gloeckners’ use of dolls to communicate the horrors of the Juárez femicides allowed her to see the project from an alternative angle, simultaneously preserving her mental health and bringing her closer to the victims. Due to the danger, Gloeckner could only visit every couple of months, however she felt a desperate need to be in the same atmosphere and surroundings as the victims and their families. Therefore she set about building the sets of houses and streets from her research and this enabled a feeling of closeness with her subjects and immersion into her work. “I would sit there, in the sand, like a giant surrounded by little people and houses”
We can see that Gloeckner's relationship with the dolls was complex. The issues she was depicting were so brutal that she could not help but feel sentimental towards her handmade dolls which represented the girls. The act of superimposing her and her husband's faces onto the dolls made the photographs all the more personal to Gloeckner. It put her in the place of the victims and demonstrates to the viewer why she was able to feel such empathy for those involved. Subsequently her personification of the dolls enhanced her emotional connection towards them. In an interview, she shared sentiments regarding the dolls, remarking that she would let a particular doll sleep next to her if she knew that it would be ‘dying’ in a scene the next day (Lacour, 2021). Here she highlights that dolls can be embodied and humanised, however this can also be undone at will.
“...there's something both living and nonliving about them…And, in my mind, that rescues them” (Lacour, 2021). This quote demonstrates that Gloeckner does not make these dolls out of morbid curiosity, she believes they heal some of the atrocities by spreading awareness about the stories, bringing some solace to the families of the victims.
The gut-wrenching stories Gloeckner depicts is highlighted by the abjection of the dolls themselves. This can be related to Kristeva’s philosophy which declares corpses as the height of abjection,since Gloeckners artdepicts the visceralabjection of the stories behind the dolls themselves. Similarly, comparisons can be drawn between Gloeckner's dolls and reborn dolls. Not only do they both portray themes of loss and death, but they are also abject due to their non-living state, while simultaneously having life projected onto them. This makes the art all the more interesting and fosters a unique relationship between the art, the artist and the viewer; wherein the artist is creating something that feels alive but is not.
After surviving a brutal attack from five strangers outside a bar and being left to die, Mark Hogancamp fell into a nine-day coma. When he awoke, he had no recollection of his life before the attack and had to relearn many basic human functions such as walking, eating, writing and social norms. Hogancamp attended therapy but after his state-provided sessions ran out, he found solace in his garden where he created a 1:6 scale town entirely of his own creation called ‘Marwencol’ (About, 2015).
Due to his injuries, Hogancamp was unable to lead a ‘conventional life’ and had very few friends, therefore potentially explaining why some of the characters from Marwencol were based on his colleagues, mother and neighbours. Conversely, ‘Hogie’ the main protagonist created by Hogancamp, was a rugged, charming and heroic soldier established within the narrative of this fantasy WWII Belgium town. A church, shops, houses and the ‘Ruined Stocking’ (the town's raunchy watering hole) could all be found in Marwencol. Hogancamp found within this world a space for him to rest his mind, spending most of his time and money working on it (About, 2015). This labour of love and self-built therapy enabled Hogancamp to live his life vicariously through the character Hogie, who he imbued with characteristics that he deemed desirable e.g. bravery, strength and sex appeal.
If he wasn't building or painting miniatures, he was setting up scenes or documenting the happenings of the town; through photography. He accumulated thousands of film photos, developing them all by hand, which were otherwise destined to end up in boxes. However, in 2010 a documentary was produced and directed by Jeff Malmberg (Malmberg, 2010), which portrayed a series of short interviews with Hogancamp, intercut with shots of him working on the town. The documentary is very raw, with minimal editing or effects and simply follows Hogancamp as he expresses his passions and talks about his town and family. Malmberg's documentary and Hogancamps’ story struck a chord with many, including notorious film director Robert Zemeckis who later produced ‘Welcome To Marwen’ starring Steve Carrell as Mark Hogancamp (Welcome To Marwen, 2019). This representation of Hogancamp cast him in a poor light, portraying him as an incel who obsessed over the females in his life and belittled his use of dolls. This demonstrates the controversial nature of Hogancamp’s story and how a change of narrative can drastically alter the way that it is perceived, turning Marwencol into something sinister and shameful rather than the self-expressive and therapeutic outlet that it was intended to be. The use of dolls by adults commonly leads to misconceptions regarding their purpose, itcan often be seen as juvenile, creepy or at worse sexualised (Carver, 2018; Behan Garrett, 2022; Smith, 2023). Therefore the intent behind the creative expression must be taken into account and not distorted for sensationalism or exploited for profit.
Representing the antagonists in Hogancamp's life, the Nazi action figures in Marwencol allowed him to displace his anger through acts of violence between the dolls. During the filming of ‘Marwencol’ (Malmberg, 2010), Hogie was taken by the SS, tied up and tortured. Hogancamp then painted a scar running down the right side of Hogie’s face; mimicking the real-life scar Hogancamp was left with after his attack.
An assumption could be made that Hogancamp orchestrated the attack from the SS to occur while the documentary crew were there, in order to share his life story through his dolls. Hogancamp's photographs depict extreme brutality, however, I believe they also gave him back his control and power, evidenced by his ability to capture the hardships of this miniature town.
It is evident that the trauma from Hogencamp’s attack resides throughout his work and fuels the narrative behind his ‘play’ with the action figures. Mental illness can make us uncomfortable, something we often try to ignore or suppress (Kendra Cherry, 2023). The issues Hogancamp faced after his attacks although human and natural were still abject. ‘Marwencol’ (Malmberg, 2010) gives the viewer a deep insight into Hogancamp's life and relationship with the townsfolk. Hogancamp's relationship with the residents of Marwencol is therapeutic, he needed the town to process his thoughts and feelings post-attack. Although Hogie was a tough hero and womaniser, Hogancamp portrayed him as a violent and traumatised man whose issues were shared by them both. By painting the scar on Hogies’ face Hogancamp projected his abjections onto the doll, he found solace despite his anger towards his attackers by sharing this burden with the doll.
Just as Hogancamp wished to share his story with the documentary makers through orchestrated attacks on his Hogie figure; dolls let us communicate scenarios that may be otherwise difficult to talk about. This is seen in the use of therapy dolls as a resource for adolescents to communicate their trauma. This technique is highly regarded along with creative expression including art therapy (Brosowsky, N. et al. 2022, pp.2; Darewych, 2020 pp.157), as a means to alleviate mental burden. Therefore it is feasible that these methods may also present psychological benefits for adults. Although others are often quick to judge the adult use of dolls such as the critics of reborners, it is undeniable that interacting with dolls can improve mental health as demonstrated by the works of Phoebe Gloeckner and Mark Hogancamp.
Marco Tosa’s (1998) writings in ‘Barbie’, talk of the doll being malleable in that she becomes whatever you wish when you play with her. Tosa views Barbie™ as a sort of mirror that reflects her surroundings, like a shapeshifter morphing into different characters according to who's playing with her.
“She is not ‘born’ autonomous and whole. She is our puppet, passive, accepting, content to be shaped and moulded in our hands as we imitate gods in the rites of creation” (Tosa, 1998).
This idea, of course, is not confined to Barbie™ alone but can be applied to any dolllike toy with an emotional significance to the individual. People often attach insecurities and traumas to their playthings, as they act as a vessels for their subconscious (PavlikMalone, 2013 pp. 12). Dolls provide a way to share parts of ourselves with others, facilitating easier communication, and exposing faults, anxieties and abjections through play. Thus, giving peers indirect insight into our mental state.
At the time that Barbie™ was brought to shelves, many thought it inappropriate that kids should play with an adult doll (Dean, 2023) however, if you watch a child play they will more often than not imagine scenarios where they are an adult doing adult tasks and copying what others do (Dean, 2023). Playing this way can help a child develop a sense of likes, dislikes, interests, and abilities (The benefits of pretend play, 2020). When the roles are reversed, however, most adults will subconsciously seek escapism from their responsibilities and the obligations of everyday adulthood (Campbell, 2023). Documentation of childhood toys and hobbies on the internet and the ever-evolving camera and video technology may have had a hand in why Millenials are often referred to as the ‘Peter Pan generation’ (Muñoz-Corcuera, 2003). The internet is at our disposal to use as a repository for constant nostalgia, allowing the past to be uprooted in ways that may make it difficult to let go of childhood sentimentality. Similarly ‘the Peter Pan generation’ is so named due to J.M. Barries' book Peter Pan (Barrie, 2015) and Peter's fear of growing up. Peter expresses to Mrs Darling his fear of growing old and having to commit to adult responsibilities such as getting an office job. He is terrified of losing his identity and childhood magic, and fears becoming another cog in the machine (Barrie & Hollindale, 2008). The prevailing popularity of this story may be as a result of this fear being evident among many young adults.
For some, collecting toys is a way to remind us of a childlike lack of concern, in a way that stimulates the imagination and presents us with occasional problem-solving and mental challenges i.e. finding a rare collectable or arranging displays. People collect for many reasons: nostalgia, fear, love and anxiety. For the Peter Pan generation and people of the like, dolls could help bridge the gap between childhood comfort and adult responsibilities. Abject dolls that share physical insecurities and complexities stemming from adulthood, could subconsciously help adults ease their burdens. They may help to provide a comfortable and familiar space and a sense of solidarity, while aiding in difficult transitional periods.
In Megan MacGregor’s paper for Material Culture and Decorative Arts ‘Creation in the Hand: The Life in Folk Art Dolls’ she writes about the idea of collecting.
Individuals are important and must be remembered: their barrows, relics and surviving possessions must be honoured with all the emotional force which surrounds the remains of the mighty dead (Eastern Illinois University, 2006)
MacGregor discusses here that a person's once treasured objects remain in existence long after the owner's death and therefore, a part of their personality lives on. She put significance on ‘honouring’ belongings, potentially due to the emotional connection forged with objects as people grow. Objects can act as a means of self-expression and this sentiment can be shared with others, for example collecting photographs to show future children or grandchildren. As previously seen with Mark Hogancamp, sharing interests is a way for people to let others know more about themselves, which can be a difficult thing to do. Generally people do not want their identities to go unnoticed or be forgotten. Thus, in some cases collections are gathered to communicate this and provide something substantial to leave behind when life ends, so that an accurate sense of the person is remembered.
The extended love of childhood playthings, nostalgia seeking tendencies and the reduced pressure to produce children, is perhaps why toy companies found that adults themselves are not a demographic to be overlooked. The designer art doll world embraces its adult market wholeheartedly. While sites such as Mattel Creations cater to collector dolls for adults, the dolls they sell are still very similar to the children's products they produce.
13th Block (About Us, 2023) has carved a brand which mass-produces bespoke and designer art and fashion dolls specifically for mature audiences. Their 12-inch dolls are reminiscent of a modern-day G.I. Joe® with a fashion-forward twist. Often muscular and angular men, the dolls that are articulated for unrestricted posing are usually adorned with beautiful and intricate modern streetwear outfits.
Departing from traditional gender norms, toys designed for boys let alone adult men rarely focus on fashion. By defying these expectations 13th Block dolls introduce a new perspective on what dolls can mean for individuals, regardless of age or gender. The 13th Block dolls have no body or face blushing, very little skin details and minimalistic design of facial features, in order to draw focus to the clothes. Moreover, the intentional absence of detail in facial features creates a void within the aesthetics of the doll, creating a thought-provoking space for interpretation within or indeed out with the lines of tradition. This invites the viewer to challenge what they already know about dolls, which therefore becomes a way of questioning societal expectations. If it weren't for the distinctly sharp and iconically stylised head and hands peeking out of the clothes, you might just think this was a photo shoot for designer menswear.
13th Block dolls deviate drastically from those which are intended for child play, the intricate clothes indicate that the purpose of the doll is to be admired by collectors and appreciated for the aesthetics. The abjection that stems from adult collectors who reevaluate preconceived societal rights and wrongs is not only embraced but celebrated by art dolls and their communities.
Ball-jointed dolls (BJDs) are sometimes commercially made by big brands such as ‘Monster High’ or ‘Ever After High’. These dolls in particular are a popular choice for repainting, where the doll's factory paint is removed with acetone and repainted (How to repaint barbies andother dolls - feltmagnet, 2022). These dolls are the most soughtafter for this hobby as they have larger and more stylized heads making the painting of faces easier, as well as having a wide variety of skin tones and body shapes (Dollightful, 2016, 00.40).
Some artists such as Emilie Steele, however, prefer to buy BJDs from small businesses on eBay and Etsy, as these often come completely blank of face and body and include moulded nipples and genitalia. These dolls are usually made specifically for repaint artists and are therefore more niche and consequently sell for a higher price.
Based in Stockholm, Steele works with BJDs to make haunting figures that supposedly raise questions about beauty ideals. Utilising “the poetry of abject creatures” (About, 2023) her figures are alluringly haunting, teetering between sweet and frightening. However, the abjection in Steeles' work seems to be more of the idea or concept rather than visibly shown in the dolls themselves.
One piece depicts a glassy blue-eyed doll with a long blonde ponytail and bright pink bow atop her head. This piece named ‘Barb’ is an obvious mockery of Barbie™
Fig.4 Emilie Steele (2017) Barb [OOAK BJD]. Stockholm (Viewed: 07.01.24).
Fig.5 Emilie Steele (2017) Barb [OOAK BJD]. Stockholm (Viewed: 07.01.24).
The doll has accentuated breasts and backside, it is also covered in a bandage-like material as if it has undergone recent plastic surgery. Steele insinuates in her work that body image is negatively influenced by Barbie™, with young girls in particular potentially feeling pressured to look like a flawless doll and have the ‘perfect shape’. This argument has been seen countless times, however in this instance it is arguably hypocritical of Steele since it could be said that her dolls may encourage young girls to want to change their bodies to this idolised version of ‘womanly’ figures, with the added suggestion of plastic surgery. Steele uses dolls that are just as ‘perfect’ in her work, with the only difference being that her dolls are made to look more adult through stern faces, gaunt bodies, hunched postures and nakedness.
The dolls Steele uses are all alien-like, long-limbed and thin to the extent of exposed ribs. This might only be because there is so little variation in BJD bodies being sold (Question for BJD collectors, 2023). If Steele worked with dolls that had droopy breasts, asymmetrical faces and stout limbs her depiction of ‘Barb’ would pack much more of a punch, however these kinds of dolls are rare.
A much more engaging example of dolls for adults showcasing abjection is found in the work of Paloma Smith (Caribou, 2019). Based in the UK, Smith is a sculptor, designer and feminist whose work portrays sexuality, emotional vulnerability and abjection. Being predominantly focused on resin sculptures, her journey into making BJDs is still at an early stage in development. Her sculptures draw attention to socially abject bodies highlighted through the absence of clothes which include hyper-realistic, widely shared features that are still often suppressed or shamed such as body hair, cellulite and fat rolls. Intense emotions are also shown on the faces of the women she captures in clay, many of them render terrifying expressions, with clawing hands held up in warning whilst others are in ‘tears’ or appear to cry out in anguish.
Fig. 6 Paloma Smith (2023) Belinda and the Blood of the Trolls [Polymer Clay, wood, acrylic paint, varnish]. London (Viewed: 07.01.24).
Fig. 7 Paloma Smith (2023) Caribou [Polymer Clay]. London (Viewed: 07.01.24).
Men are rarely portrayed in Smith's illustrations and never as the focus of the narrative, they are always accompanied by a woman, and both are naked. In these illustrations, he is enclosed in her grip and clenched by her clawing hands as she drains blood from his neck or brutally cuts off his phallus in a dramatic depiction of feminine rage. Portrayals of abject bodies as well as intense and sometimesmanic emotions are seen in these works. Here Smith grants the female viewer a cathartic experience, by facilitating the release of emotions and thoughts otherwise suppressed. Suddenly liberating the viewer through her art.
Customised BJDs are not only ideal models for exhibiting handmade doll clothes and posing for photography, but also lend themselves well to animation. Jennifer O’Connell uses BJDs self-customised in her likeness to create beautiful slice-of-life stop motions.
O'Connell (2024) Untitled [OOAK BJD, polymer clay, paper]. New York US (Viewed: 07.01.24).
Fig. 8The videos shared on Instagram and YouTube (Jennifer O’Connell, 2023) are usually one still frame which captures the doll writing in her journal, eating cake, lounging on her sofa or something of the like. Meticulously making the sets and props herself, O’Connell has full control over the aesthetic of the space utilising florals, lace and pastel colours. The stop motions emanate a distinctly dainty and feminine feel to them. The doll usually resides in an exquisitely detailed and homely living room, bedroom or bathroom, perhaps replicas of the artist's own environment. Within the detail of each room, a huge amount of personality and narrative is communicated to viewers who care to look closely. This is something I have taken into consideration for my own stopmotion set.
The doll's personality and perhaps therefore the artist's personality can be pieced together from the deliberate clues hidden within the sets. This brings elements of intrigue almost as though the viewer is looking in on the doll through a window. A feeling of isolation is evident in these stop motion animations, although this is not always portrayed negatively. The comfortable furnishings around the doll and soft warm colours create a feeling of cosiness and relaxation (O’Connell, 2023). Reminiscent of the feeling which may be experienced if one had an entire day to spend at will, choosing to stay inside and paint, read or write as the doll is so often seen doing. The animations give the sense that this character and perhaps by association the artist, enjoys spending time on her own.
In contrast to the sweet and cosy nature of pastel-coloured furnishings and materials, clay weed pipes, joints, lighters, human hearts, skulls and bloody sanitary pads are often found in the rooms (O’Connell, 2023). The deliberate contrast of these props only adds more depth to the scenery and the character, creating mystery and humanising the doll whilst emphasising the disregard for social norms when spending time alone.
In 2010 Mattel introduced a new line of dolls named Monster High Dolls (McDonald, 2023). There was a deliberate movement in the manufacturing and design of the dolls to create diversity with different fashion and makeup aesthetics. The design of each doll is vastly different with variations in outfits, hair, skin tones and face moulds. Each aesthetic tailored to individual background stories and personalities (Dollightful, 2016, 00.40). As soon as Monster High dolls reached the shelves many parents were outraged, as was previously the case with other fashion dolls such as Bratz or even Barbie™ (Fenneuff, 2022). The uniform proportions of the dolls could be seen as a stylistic choice or to make the sharing of clothes between dolls possible. Although, parents worried that such representations might contribute to their children being influenced by unrealistic body standards. Despite having tall and petite dolls the original bodies were all unrealistically thin, disproportionately long-limbed and had tiptoe moulded feet to fit into heels. Outrage at the style of clothing or lack thereof, was also a pressing issue. The alternative fashions such as goth, scene and emo included in the Monster High brand, came from subcultures that were often misunderstood. Subcultures such as these are closely linked with the stigma of unruly and unhappy youths (Should I worry if my child is a goth?, 2015) and fueled concern among parents.
Regardless of what critics said, the characters from Monster High as shown in the mini webisode series on YouTube (Monster High, 2010) and films (Monster High: New Ghoul at School, 2010) were teenagers who valued friendship above all else. The characters had interests in fashion but they also had unique hobbies, skills and personalities which were a unique selling point for the brand over their competition. This resulted in a significant amount of success for the line (Anderson, 2013), indicating that the desire for dolls with more complex personalities and hobbies had not been previously met within the market saturated with Barbie™ and baby dolls.
In extreme cases, the hate for Monster High dolls was due to the idea that the dolls were glamorising themes of death and evil. Some critics even went as far as to say that the dolls were satanic or inducting young kids into the Illuminati agenda (Monster high: A doll line introducing children to the Illuminati Agenda, 2018). Much of the branding surrounding the dolls was black, pink and dotted with skulls and coffins, which was a point of outrage from some cynics. Many think it is inappropriate for young girls to identify with such dark and violent themes. Although ‘boys toys’ have capitalised on the same themes for years (Simmons, 1989).
The theme of domestic passivity has permeated ‘girls' toys (Simmons, 1989) but in recent years we have witnessed a relaxation of these traditional constraints. In dolls such as Monster High the contrast between what we are used to and what is in demand, is extremely apparent. While boys are free to play with action toys such as guns and soldiers, ‘girls' toys depicting the same abject idea of death e.g. pink skulls and coffins, are hypocritically cast off with disgust and outrage. In essence, the introduction of Monster High dolls to the market triggered discussions not only of body image for children and teens but also broader societal boundaries and redefining the limits imposed on girls' play. The disgust stemming from the association of skull and coffin imagery in toys ‘for girls’ also links with Kristeva's corpse philosophy, in which the disruption of social norms is tested by ‘toys for girls’ that are so radically alternative in fashion and theme.
Bodily discharges, corpses and rotten food are all physical, tangible things that we reject with often visceral reactions. These are just some of the ideas discussed in Julia Kristeva's Powers of Horror; An Essay on Abjection (Kristeva, 1984). Additionally, Kristeva uses footage of Auschwitz and the atrocious and violent disregard for human life by fellow humans as an example of “fragility in the law” (Kristeva, 1984, p.4).
This neglect of societal structure especially that which causes harm to others is abject. “It is thus not lack of cleanliness or health that causes abjection but what disturbs identity, system, order.” (Kristeva, 1984, p.4) A baby that is not full of life, an adult playing with a child's toy, or a fashion doll sleeping in a coffin, oxymoronic ideas like these disrupt what we think we know about toys. They break the boundaries of what we are comfortable with, as a society. Furthermore, Kristeva explains that for something to be truly abject, it must be “radically excluded” (Kristeva, 1984, p.4) by its audience. To pick and choose what we find abject; aside from our physical visceral reactions, we start to shape cultures and traditions.
Amber Hawk Swanson is a performance artist who discovered an online forum run by mainly heterosexualmen who bought and collected life-size sex dolls(Hawk Swanson, A, 2013). The complex relationships between the men and their dolls inspired Hawk Swanson to commission one in her likeness. Using the scanning technology at the manufacturers to capture a replica of her face, the doll made from silicone flesh moulded around PVC armatures is painted and decorated. Swanson then made several artworks collaborating with the figure she named Amber Doll, which explored the fetishism and sexualisation of women, lesbian and queer relationships through film and photography (Hawk Swanson, A, 2013).
Fig. 9 Amber Hawk Swanson (2006) Amber Doll Project. Available at: https://amberhawkswanson.com/Amber-Doll (Accessed: 07.01.24).
Sexuality could be considered abject regarding the secretion of bodily fluids, emotional vulnerability and social censorship of genitals especially those of the female body. The Amber doll encapsulates ideas of female empowerment by openly showing us feminine and lesbian sexuality. This simultaneously disregards ‘the male gaze’ which is the objectification of the female form and contradicts the doll's original purpose as a sex toy for predominantly male use.
Fig. 10 Amber Hawk Swanson (2006) Amber Doll Project. Available at: https://amberhawkswanson.com/Amber-Doll (Accessed: 07.01.24).
There is a consistent theme of passivity mistaken for consent throughout Hawk Swanson’s work, as seen in a fake wedding where she got married to the Amber Doll. The video of the wedding shows many of Hawk Swanson’s friends touching the Amber Doll on her face, and breasts and looking up her skirt. For another project, the Amber doll was also placed outside in a public setting and filmed from afar, the film captured her being surrounded by men who touched and mounted the Amber Doll as well as thrust at her face. Looking at Kristeva’s ideas on the disregard for human life, another level of abjection is seen in Hawk Swansons’ videos and photographs which highlight the way the Amber doll is mistreated. Hawk Swanson had put time, money and effort into the creation of Amber Doll as well as commissioning it to look exactly like her, this therefore made the doll somewhat alive.
Being connected with the doll in this mental and physical fashion raises questions about where the art ends and the artist begins, therefore highlighting the abject nature of the way Amber Doll was abused.
At the November 2023 Scrapantics exhibition, I showcased a handmade dolls house, crafted from recycled material complete with my Tracy doll. As families explored the exhibition invigilators kindly reminded them not to touch the artworks. Despite the polite request, one of the children from the group was drawn to Tracy's dollhouse and instinctively reached out to touch it before the invigilator reiterated the delicate nature of the displays. The intricacies of Tracy's dollhouse and the innate urge for people to physically handle it, however, go beyond the material craftsmanship. Once I knew that I was using a Barbie™ for the base of Tracy's body, I decided from the first conceptualisation to incorporate anatomically correct details such as nipples and genitals. It was important to me that Tracy seemed like a real adult, as it enabled me to relate to her far more and therefore the storytelling of my experiences felt more genuine.
When people realise that she has these features they always want to see themsometimes pulling down her top or looking up her skirt without considering my emotional attachment to her. This innate curiosity is natural in children and is something that carries on in adulthood (Tschinkel, 2023). Although Tracy is an inanimate object, she should no more be objectified than I should, as her creator. Even when displayed as a piece of art, the doll is still deemed to be a plaything, as people inherently confuse the doll's original purpose with its perceived current function.
It felt natural to me that the story I tell through Tracy would be autobiographical. This approach not only simplified the writing aspect but provided me with an avenue to subconsciously relieve some of my anxieties. A form of journaling came disguised as script writing. I was inspired by artists like Paloma Smith and Jennifer O’Connell to include undesirable characteristics in the writing and abject props in the set. Projecting things I might feel insecure about in my own life onto Tracy had a transformative effect, turning perceived flaws into cool and charming character eccentricities.
The act of imagining Tracys’ reactions to sad or embarrassing situations that I have faced, provided me with a unique and uplifting sense of empowerment and humour. Tracy then evolved from a distant but admirable character in a stop motion, to a figure as familiar and reliable as a security blanket. Writing the scripts and filming the stop motions with Tracy therefore became a cathartic form of therapy for me.
Throughout writing this dissertation, I reconnected with doll repainting as a hobby. Utilising a second-hand Barbie™ as the base, I repainted the face as well as added nipples, genitals, body hair and skin details. I felt a sense that she deserved to have a realistic body as she was so obviously devoid of any human body characteristics. My primary intent was personal enjoyment and the exploration of painting the doll as a true adult.
The reception of this transformation of a doll so well known, however, was very mixed. People were mostly surprised to see a Barbie™ looking so human, one viewer criticised that it could be seen in a negative light, particularly in the hands of someone with inappropriate and ill intent. I maintain that this argument could unfortunately be made for anything depicting female nudity and so open broader discussions regarding societal attitudes towards the female body even in art. The same critic shared views of my painting anatomy onto a children's toy as creepy. However, my perspective challenges this notion, posing the question of whether she is still a children's toy if I, an adult, am the one who is playing with her.
To paint anatomy onto a Barbie™ doll raises questions about our societal boundaries regarding our bodies, the abject, and what and what not to censor. While Monster High doll characters are all teenagers, many OOAK (one-of-a-kind) dolls using them as a base, are still repainted with genitalia and nipples (Khalikova, 2020; Romanskaya, 2021). It could be said that once an artist goes to the length of removing the original paint and hair from the doll they are a completely blank canvas devoid of any original character. However, even if an artist were to repaint a Monster High doll as the same character and give them genitals it would only be more realistic and true to life. Similarly many of the baby dolls my friends and I played with as young girls had at least nipples, if not penises and vaginas.
Arguments made for dolls to include nipples and sexual organs as anatomically correct dolls would raise concerns and controversies related to cultural, religious, or moral values. Mattel chooses to censor their doll bodies to avoid such controversies. However, if artists find that utilising creative freedom when repainting OOAK dolls makes them more realistic and relatable, then bodily abjection and anatomy should not be censored or repressed. As discussed in Chapter 3, a common factor in many of the art dolls showcasing the abject is the reception they receive and how they are interpreted. Dolls showcasing abjection in their physical aesthetics such as cellulite, sagginess, and acne could make it easier for us to relate to our dolls and therefore engage with them therapeutically.
In summary, Chapter One explored the therapeutic use of reborn dolls through the lens of Kristeva’s corpse philosophy and the benefits of using dolls as therapy. Expanding on this, we moved on to the artworks of Phoebe Gloeckner and Mark Hogancamp, whose art can both be closely identified with the abjection of death and violence. Their use of dolls was explored as instruments for preserving their mental health through humanising and personifying dolls for their art.
In Chapter 2, the psychology of collecting and dolls in contemporary art are discussed using Emilie Steele (About, 2023), Paloma Smith (Caribou, 2019) and Jennifer O’Connell (O’Connell, 2023) as examples of artists that use dolls in their practices. The reasoning behind collections was explored which expanded on the personal significance many dolls hold for their owners. This section then highlighted the emotional and bodily abjections often repressed, particularly in female-focused artworks using predominantly Paloma Smith to exemplify this
The final chapter explored other philosophies from Kristeva’s writings in ‘Powers of Horror’ (Kristeva, 1984) delving into the idea of the abject within the abuse or disregard for human life. The controversial release of Monster High dolls as well as Amber Hawk Swanson’s (Hawk Swanson, A, 2013) videography and Kristeva’s ideas all lend argument to potentially perceived social disruption. Chapter 3 is rounded off by amalgamating theory and practice, the discussion expands on the benefits of autobiographical uses of dolls in art and film. The conclusion of this dissertation reflects on the benefits of play in mental health in adults, dolls in the contemporary art world and ways they are starting to show abjection as shown through the works of Mark Hogancamp and Phoebe Gloeckner.
When Julia Kristeva’s meaning of abjection from her book ‘Powers of Horror’ (Kristeva, 1984) is applied to the adult use of dolls and the dolls themselves, it challenges societal norms by daring to embrace what goes against tradition. This guided the discussion of societal acceptance of adult play utilising dolls for therapy, recreation and art which became a reoccurring theme throughout the dissertation.
. 09.06.23. Available at: https://www.youtube.com/watch?v=pb18Q0o2ByQ (Accessed: 26.12.23). .05.05.10. Available at: https://www.youtube.com/watch?v=L1C2M5DDXb4&list=PLB83F12C71A8E94B9 (Accessed: date).
1988 Happy Holiday Barbie (2006) Fashion Doll Guide. Available at: https://www.fashion-dollguide.com/1988-Happy-Holiday-Barbie.html (Accessed: 12 November 2023).
A Study of Youngness & Oldness at Interface. Newcastle upon Tyne: Cambridge Scholars. About (2015) Marwencol. Available at: https://marwencol.com/about#about-marwencol (Accessed: 14 November 2023).
About (2023) EMILIE STEELE. Available at: https://www.emiliesteele.se/about (Accessed: 16 November 2023).
About Us (2023) Available at: https://www.13thblock.com/pages/text (15th November 2023).
Anderson, M. (2013) Mattel Hopes Monster High Dolls can breathe life into shrinking Barbie sales, The Oklahoman. Available at: https://eu.oklahoman.com/story/news/2013/07/19/mattel-hopesmonster-high-dolls-can-breathe-life-into-shrinking-barbie-sales/60898650007/ (Accessed: 26 December 2023).
Barbie diversity: Mattel (2022) Available at: https://shop.mattel.com/pages/barbie-diversity (Accessed: 29.12.23).
Barrie, J.M. (2015) Peter Pan. London: Collins.
Barrie, J.M. and Hollindale, P. (2008) Peter Pan in Kensington Gardens ; and, Peter and Wendy Oxford: Oxford University Press.
Behan Garrett, D. (2022) ‘When People Mock Adult Doll Collectors’, Black Doll Collecting, 11 March. Available at: https://blackdollcollecting.blogspot.com/2022/03/when-people-mock-adult-dollcollectors.html (Accessed: 07 January 2024).
Brosowsky, N. et al. (2022) 'Creativity, Boredom Proneness and Well-Being in the Pandemic', Behavioural Sciences, pp.2. Available at: file:///Users/liv/Downloads/behavsci-12-00068.pdf (Accessed: 07.01.24).
But I’m so happy we made it’ [Instagram]. 15 November. Available at: https://www.instagram.com/p/CWSJoC3DL99/ (Accessed: 07.01.24).
Campbell, O. (2023) Feeling nostalgic? your brain is hardwired to crave it, Science. Available at: https://www.nationalgeographic.com/science/article/nostalgia-brain-sciencememories#:~:text=As%20a%20temporary%20escape%2C%20nostalgia,component%20of%20the%2 0human%20experience. (Accessed: 02 January 2024).
Caribou (2019) Octoplum Art. Available at: http://octoplum.com/caribou (Accessed: 29 November 2023).
Carver, D.J.M. (2018) Mid-twenties adult carries baby doll with her, Ask the Psychologist. Available at: https://askthepsych.com/atp/2008/08/11/adult-with-baby-doll/ (Accessed: 07 January 2024).
Chute, H. (2010) ‘An Interview with Phoebe Gloeckner’, The Believer. Darewych, O. (2020) Positive Psychology Arts Activities. Available at: https://web.p.ebscohost.com/ehost/ebookviewer/ebook/bmxlYmtfXzIzNjU3NDVfX0FO0?sid=41df18da -bb64-492d-bf89-ee59e35ad14b@redis&vid=0&format=EB&rid=1 (Accessed: 07.01.24).
Dean, G. (2023) Barbie is the star of the summer’s hottest blockbuster. the much-hyped movie is the pinnacle of a 60-year history filled with rejections, lawsuits, and controversies for the world’s most iconic doll., Business Insider. Available at: https://www.businessinsider.com/barbie-history-mattel-ruthhandler-ken-doll-toy-fashion-movie?r=US&IR=T#buyers-didnt-care-about-barbie-4 (Accessed: 22 December 2023).
Dollightful (2016) Your First Custom: Selection + Preparation [PART 1] .11.08.16. Available at: https://www.youtube.com/watch?v=fen8kUQHfjE (Accessed: 26.12.23).
DOLL-MAKING & COMICS’, The Comics Journal.
Eastern Illinois University (2006) CREATION IN THE HAND: THE LIFE IN FOLK ART DOLLS https://www.eiu.edu/historia/Macgregor.pdf (Accessed: 15th November 2023).
Fenneuff, J. (2022) Barbies, Bratz, and unrealistic beauty standards, The Current. Available at: https://thecurrentmsu.com/2022/09/07/barbies-bratz-and-unrealistic-beautystandards/#:~:text=Many%20felt%20they%20were%20inappropriately,massive%20heads%2C%20ey es%20and%20lips. (Accessed: 26 December 2023).
Fry, N. (2019) The women who mother lifelike baby dolls, The New Yorker. Available at: https://www.newyorker.com/culture/photo-booth/the-women-who-mother-lifelike-baby-dolls (Accessed: 22 December 2023).
Happy Holiday Barbie (2010) Barbie Wiki. Available at: https://barbie.fandom.com/wiki/Happy_Holiday_Barbie (Accessed: 12 November 2023).
Hawk Swanson, A. (2013) Amber doll project, BOMB Magazine. Available at: https://bombmagazine.org/articles/amber-doll-project/ (Accessed: 26 December 2023).
How to repaint barbies and other dolls - feltmagnet (2022) How to Repaint Barbies and Other Dolls. Available at: https://feltmagnet.com/crafts/Learn-How-to-Repaint-Barbie-and-Fashion-Dolls-How-toPaint-a-Doll (Accessed: 26 December 2023).
Jennifer O'Connell (2023) The Final Countdown- a stop motion animation by known.asmyself Kendra Cherry, Mse. (2023) How does repression work in our unconscious mind?, Verywell Mind. Available at: https://www.verywellmind.com/repression-as-a-defense-mechanism-4586642 (Accessed: 22 December 2023).
Khalikova, D. (2020) 'commission in the process Kirshner, M. and Behrens, R.M. (2008) I live here - quill and quire, Quill and Quire - Canada’s magazine of book news and reviews. Available at: https://quillandquire.com/review/i-live-here/ (Accessed: 07 January 2024).
Kristeva, J. (1984a) Powers of horror: An essay of abjection. New York: Columbia University Press. Lacour, K. (2021) ‘“DOLLS ASK SOMETHING DIFFERENT”: A ROUNDTABLE ON Marwencol [DVD] (2010). U.S.A: Open Face.
McDonald, C. (2023) Mattel announces Monster High Publishing Program, Mattel, Inc. Available at: https://corporate.mattel.com/news/mattel-announces-monster-high-publishing-program (Accessed: 26 December 2023).
Monster High (2010) Fear Squad | Volume 1 | Monster High
Monster high: A doll line introducing children to the Illuminati Agenda (2018) The Vigilant CitizenSymbols Rule the World. Available at: https://vigilantcitizen.com/vigilantreport/monster-high-a-dollline-introducing-children-to-the-illuminati-agenda/ (Accessed: 26 December 2023).
Monster High: New Ghoul at School (2010) Directed by Audu Paden, Eric Radomski [Feature film]. Little Orbit.
Muñoz-Corcuera, A. (2003) 'Emerging adulthood and the Peter Pan Generation in Damion Dietz’s Neverland', International Journal of Scottish Theatre and Screen, vol. 10, 116.
O’Connell, J. (2023) 'Bless and keep this heart from harm and from harming others. Keep the breath warm, the eyes clear and pathways open…' [Instagram]. 21 December. Available at: https://www.instagram.com/p/C1I6c7sul4x/?img_index=4 (Accessed: 22 December 2023).
Pavlik-Malone, L. (2013) Being Doll: 'Question for BJD collectors' (2023) Reddit. Available at: https://www.reddit.com/r/BJD/comments/183ip9u/question_for_bjd_collectors/ (Accessed: 26.12.23).
Romanskaya, L. (2021) 'That was a long-lasting commission.
Should I worry if my child is a goth? (2015) The Guardian. Available at: https://www.theguardian.com/lifeandstyle/2015/sep/07/should-i-worry-if-my-child-is-a-goth (Accessed: 03 January 2024).
Simmons, B. (1989) ‘War Toys: What are they good for? Absolutely nothing!’, AGENDA Ann Arbor’s Alternative Newsmonthly, pp. 5–6. Available at: https://aadl.org/node/246607 (Accessed: 03 January 2024).
Smith, G. (2023) ‘I’m a 36-year-old man who loves matching outfits with my Ken doll’, inews, 21 July. Available at: https://inews.co.uk/culture/film/adults-still-play-barbie-dolls-ken-little-boyfriend-2493414 (Accessed: 07 January 2024).
The benefits of pretend play - imaginary pages (2020) Imaginary Pages - Little Readers. Available at: https://imaginarypages.com/the-benefits-of-pretend-play/ (Accessed: 22 December 2023).
The Mattel Creations Story (2023) Mattel Creations. Available at: https://creations.mattel.com/pages/about-mattel-creations (Accessed: 12 November 2023).
To not understand ‘reborn’ dolls? (2022) Mumsnet. Available at: https://www.mumsnet.com/talk/am_i_being_unreasonable/4534198-to-not-understand-reborn-dolls (Accessed: 22 December 2023).
Tosa, M. (1998) Barbie: Four decades of fashion, fantasy, and fun. New York: Harry N. Abrams. Tschinkel, A. (2023) Why kids like to undress their dolls so much, according to a psychologist, Scary Mommy. Available at: https://www.scarymommy.com/parenting/why-kids-like-to-undress-their-dollsso-much-according-to-a-psychologist (Accessed: 07 January 2024).
Welcome To Marwen (2019) Directed by Robert Zemeckis [Feature film]. United States: Universal Pictures.
White, M. et al. (2010) ‘Reborn Dolls Artists and the Emotive Display of Bodies on eBay’, in Political Emotions. Milton Park, Abingdon, Oxon, England: Routledge. дама
' [Instagram]. 27 February. Available at: https://www.instagram.com/p/B9FH2NaK151/ (Accessed: 07.01.24).