2016 is almost over. And today one of my favorite Fashion Doll blogs TommyDoll brought us some very exciting news about a new line of 1:4 scale fashion dolls by the doll artists Jozef Szekeres.
Tommy interviewed the Australian doll artist and I am honored to share this interview with some amazing first sneak pictures of this new doll line.
I think 2017 is going to be a very exciting doll year.
Tommydoll (TD): I love how you draw inspiration from Indigenous Australian themes and marry that with your own family – it’s reminiscent of Robert Tonner, but also very unique. How did Australia inspire you in characters, sculpts, and those wonderful 60s-inspired (yet very up-to-date) fashions from Stephen Moor – more specifically, how did you piece it all together into the exotic, glamorous and dangerous world of the Bizelle Sisters?
Jozef Szekeres (JS): Thank you Tommy, I appreciate you taking this time to interview me, and introduce my new line of GlamourOz Dolls to the Fashion Doll Collectors around the world.
“Launching a new line of Australian Fashion Dolls born from Oz could only be complete with its inclusion of the very first Indigenous Australian Fashion Doll character…“
Now to your first question (I hope they’re not all this complex, well then again… bring it on!), I’d like to begin by paying my respects to all the Indigenous Australians, the traditional custodians of my homeland. Launching a new line of Australian Fashion Dolls born from Oz could only be complete with its inclusion of the very first Indigenous Australian Fashion Doll character (that I know of).
My father, an accomplished artist in his life with his day job as a house painter, was an avid art collector, and on occasion would do his trade literally for the trade of art. As a child, I remember one hallway of my parents’ home had the most amazing Indigenous Australian artwork hanging on both sides that my father acquired in this way, and it’s still there today. So he instilled early in me a great respect for all art, whether tribal, western, and even sculptural. I had the opportunity in my early adult years to visit the Thankakali Broken Hill Indigenous Community, and do a comicbook workshop for and with the children and adults there. The elders were excited to show their own art, and describe that beyond the visual aesthetics, all the art elements had great symbolic meaning, and showed how it can be read sequentially… A visual arts language, their own ancient “comicbook” language.
I’ve seen Indigenous Australian dolls before, but only as baby, child, or adult souvenir dolls from my youth. I even have an Australian Barbie Club convention souvenir doll using an African-American Shani doll as an Indigenous Australian stand in. But to my memory, I’ve not yet seen a sculpt created specifically to be an Indigenous Australian Fashion Doll, as we understand Fashion Dolls to be. So when creating the head-sculpts in preparation for my new doll line, with intention I created one to be an Indigenous Australian, looking to the Australian supermodel scene as my inspiration to respectfully capture their distinct features and beauty.
Being Australian, I wanted all of my characters from my first release of my new line to be of and from Australia. From inspirations of Elle “The Body” Macpherson, to the gorgeousness of proportions and beauty of Olivia Newton John’s Sandy (from “Grease”) and that of our beloved songbird Kylie Minogue (a favourite of my father’s). However growing up in Australia, media focused primarily on Western-looking personalities. Thankfully that is changing and Asian-Australians are rightfully represented in media today too, and therefore my line would not be complete without its own Asian Australian Catwalk Model.
Three of my character head-sculpts have their names taken from my family members. My sister is Elizabet Kotalin, and our mother is Lucille. Bindi is a traditional name from the Sydney Darug Tribe, meaning “beautiful butterfly” or “beautiful girl“, depending on which tribe’s dialect is used. Also, Bindi Irwin has recently brought that name to international prominence, and as a nation, we’re all very proud of our “Dancing With The Stars” winning girl.
Stephen Moor’s artwork entered my life when my sister married his son. I was in my mid teens, and I guess he saw I had some artistic aptitude and leanings, and he took me under his artistic wing. I knew of his fashion sketches rather early, but only later realised that though he was a nationally successful Who’s Who of Australian artists, he had never published or seen his fashion works from the 60s – 70s realised. When he gave me his folder of fashion sketches, he urged me to look into entering fashion, saying he hoped his fashions could help me or inspire me, and that I could use them if I wanted or needed to. At the time, I had already established my own artistic career path as a young Disney 2D animator, so though deeply touched, his fashions sketches were only shared within the family. However, I knew on an instinctive level that this 80 strong fashion sketch collection needed to be kept whole and complete, and was significant to Australian fashion history.
I’ve always visualised that I’d do my own line of dolls, even when at school and told one of the teachers, who sarcastically said “As if” and “Dream on“… and I took that backhanded advice, and did dream on. I at first thought I had fulfilled that dream wish when I did my first Elizabet Bizelle line in 2003. But my passion for dolls has only grown stronger over time, and somehow, everything in my artistic experience seemed to funnel down and compress into this singularity that has become my new GlamourOz Dolls line. It’s my own personal Big Bang!
TD: It’s interesting that many of the world’s countries have their own spin on ‘era fashion’ – such as the 1960s – what is Australia’s take on the colors, clothes and textures then?
JS: Australian fashion was built on (or maybe from) the backs of Merino Sheep. Wool, and earthy colours are quintessentially Australian. Though the Mod fashions were emulated in Australia, the Aussie take focused on geometric yet deceptively simple classic shapes. That’s why I think Stephen Moor’s fashions are so iconically 60s Australian, yet also look ever so modern today.
TD: Describe the relationship between the sisters – do we have Elsa and Anna, or do we have Cinderella and Drizella?
JS: Ahh, Disney either way! You can’t go wrong with either choice. However, with edition titles like “Double-Cross Cover-Up”, “Secret Garden-Path”, and “Ribbon Reveal”, you know there’s “something” going down!
TD: How do we see the characters in Moor’s clothing designs…I get the fashions are for all the dolls, but who is more likely to wear what…and why?
JS: Elizabet is my lead girl, so I see her comfortably in anything. She wears Double-Cross Cover-Up, because it’s cheeky, sexy and fun, the 60s mini skirt of the line. I created the jacket design to go with the mini dress, originally as a value add, but now they are inseparable to me. She’s a blonde that has “more fun” in the mainline of this garment set. In the limited variant, she’s a fiery redhead, not to be toyed with lest you get burned.
Secret Garden-Path Elizabet – softly glamorous in a statement 60s young-green evening spiral path gown. Her copper red hairstyle revisits her signature hair design originally worn in her 2003 release, “Dangerous Discovery“!
Ribbon Reveal Kotalin – high class all the way. Sexy high in its reveal-through panel detailing, married to a classy silhouette. For some reason I get Marilyn Monroe in “Niagara” when I see her in this garment, especially from behind… for that full minute walk. Blonde for the mainline, and long and Ginger with a 60s bump for the limited variant edition. For this garment, the bridal white sketch has been transformed into a beautiful warm salmon pink.
Glittering Gala Kotalin – silvery in a gun metal sequence gown, once again emphasises her high glamour. Her brownette hair design inspired by Stephen Moors fashion sketches, with length added at the back for fun hair play (I’m thinking of you, Darko!).
Bjeran Bindi (Cool Begins) – from the Nyoongar Indigenous Australian calendar,
describes the beginning of Winter. With beautiful lines, shapes and textures that embody the bush edged Australian outback, this jacket keeps her warm in the desert cool beginning nights of winter.
Yawkyawk Billabong Bindi (Mermaid Pool) – Yawkyawk is a word from the Aboriginal Kunwinjku/Kunwok language, meaning ‘young woman’ and ‘young woman spirit being’. Sometimes compared to the European notion of mermaids, Yawkyawks are usually depicted with the tails of fish. They have long hair, associated with trailing blooms of algae, typically found in Arnhem Land streams and rock pools.
Lucille wears Yum Cha Cha-Cha – which embodies her classy sophisticated lady, and “Anything Goes” toe tapping nature, ready to star in a musical opening number… Think Willie Scott, from Temple of Doom.
Executive Day to Night Lucille, is power play in the boardroom, and power player of the night.
TD: Do the Bizelle sisters actually live in Australia…or are they children of the world at large like James Bond?
JS: Australian born, but children of the world at large. For their character’s histories and behind the Catwalk Supermodel scenes, I definitely see a blend of Bond for the classy international intrigue and suspense, Indiana Jones for the arcane mystic mysteries, and Charlie’s Angels in their hair flippary fun, and for their fashion forward fraternal sisterhood, this Supermodel band of “Pussycat Dolls” call themselves GODs (GlamourOz Dolls)!
So… why not bring part of Australian culture back to your home with our GODs.
Szekeres is a 2-D artist and sculptor – he has a pronounced experience in Australia as a Disney animator, primarily the Disney Princesses (so what’s there not to like?). Read the full interview with Jozef Szekeres by an Australian colleague – click here). In the late 90s/early 2000, he designed, sculpted and produced the Elizabet Bizelle fixed-pose fashion dolls of haunting and unique beauty. This was just at the dawn of the articulation movement, which made for some lovely posing – however, with every joint you add, you remove an element of beauty to the lines of the human form. His dolls were true to that, making them display perfect…and ripe for photography. They sold well, but were highly limited. For all the dolls in the 16” movement following Gene Marshall in 1996, and before the rise of Tyler Wentworth in 1999 – Szekeres’ Elizabet (and sister, Kotalin) Bizelle were the most unique looking and styled fashion doll – featuring a body sculpt that was mesmerizing in its idealized beauty. The Bizelle Sisters beckoned to be re-fashioned into poseable ladies of exaggerated style and sumptuousness. Raising his own money over a decade would usher him closer to his dream – cash everything out, and make the sacrifice to make the molds.
TD: How many Elizabet and Kotalin dolls were originally made? How was the decision made to not continue with them…money, saturation…both?
JS: 840 dolls in total were made, spread out in 3 main editions, and 2 IDEX editions of 20 each.
The rise of articulation in the 16″ fashion doll world changed them from display dolls into play dolls for adults. My initial production was created within the means I could muster at that time, and also when articulation in 16″ dolls was established as limited, going full articulation was well beyond what I could afford. Just getting to my first and only USA IDEX (with my wonderfully supportive mother in tow) was a huge cost and big deal for me, and this is where I met you for the first time. It was heartbreaking to see my doll passed over because her articulation was limited. Collectors kindly complimented the sculpt, but saying on the boards, “I’d buy her if she was articulated” further depressed the issue. I wanted to say… If only you’d support her now, then in the future, full articulation would be possible, like Gene and Tyler’s eventual and (in Tyler’s case), gradual articulation. But once articulation took hold of the collectors’ focus, anything other than full articulation was seen as less-than. As a consequence, sales dropped, and that basically ended the line there.
Original 16″ Elizabet next to 22″prototype sculpt wearing lingerie by Doug James – The prototype was Sculpted in a larger scale for 3-D scanning and printing to preserve detail.
TD: Has it been difficult compromising body beauty for articulation? How did you resolve the marriage of the two?
JS: Once I saw the new articulation movement in both Resin and Hard Plastic dolls, I could see where it worked and where it didn’t. My engineer side of my brain took over and guided the sculpt. Having 13 years of 2D Disney animation behind me focusing on the Disney Princesses, gave me an appreciation and understanding of the flow of form and pose, which I brought into my sculpting. I wanted every body part to have grace not just in and of itself, but also in how it connected to each other… to ensure this sculpt was also sinuously tall, and elegantly graceful from head to toe, so the finished articulated sculpt would look whole, rather then an assembly of parts. I returned to my own 2003 established aesthetic and in 2006 started a sculpt of a new doll at 22″ so as not to be influenced by any other dolls or trends (which I brought with me to the 2007 New York Comiccon, and while there I got to show Madame Alexander in New York, but they already had their Alex doll, so weren’t interested, then I took the sculpt to Philadelphia showing Ed Ferry of “Happily Ever After” when attending his in-store doll club gathering). I shelved the unfinished sculpt (like Edward Scissorhands, she lacked hands), till I could afford to continue. Once I was ready to self finance, I revived and completed the sculpt in 2015. The factory got involved in early 2016 and the doll was resized down to fit into the 16″ world, where I got to see her for the first time at her final height size.
TD: Was it a decision to expand the diversity and story to add the two new characters – or was it necessary to break even on development/production costs?
JS: With the initial 22″ inch sculpt in SuperSculpy, Elizabet was the first head-sculpt in 2006, then in 2015, I retooled the Elizabet head-sculpt, and added Bindi, Lucille, with Kotalin as the last completed, thus rounding out this first line up. So I started with just the one head-sculpt, but once I started to seriously see that this could be realised, I expanded the head-sculpt range knowing that the minimum run would be 3000 units. As a collector myself, I knew 3000 of just one character would not be as interesting as four.
TD: You are using every resource in your savings and personal worth for these – isn’t it scary?
JS: Indeed it is. I know it’s a risk, but it’s not a fatuous one. As a career artist, I need to trust in what I create is to the best of my own ability and standards and the needs and standards of the paying client, and that hopefully will resonate with those people it’s targeted to reach. If I couldn’t do this, I wouldn’t have a job. This time around, my own collector self is that client. I feel if I can appeal to my own needs and wants with this new doll that I’m not currently finding in the 16″ Fashion Doll market, then I’m being true to my art, vision and voice, and hopefully that will resonate with the Fashion Doll collectors need and want, too.
TD: What are you eating now you are factory development poor?
JS: Hopefully, not my words.
TD: In all your sacrifices, is there something you miss more than others?
JS: Prior the the factory involvement, the body sculpt and additional heads took about 6-8 months to complete till I felt it was ready, for I knew it had to be as right as I understand that to be, because of the financial investment it would entail.
2016 working with the factory has been full time on this, earning not a cent while shelling out more money that I’ve ever seen move through my hands. Spread over the year working with the factory, I’ll have spent more then 6 months working directly on premises with the factory in China, so I have missed my partner Todd, my family, and close friends… who have all been so very supportive. I’m currently in China working with the factory, and will even miss Christmas 2016 and the 2017 New Year at home. But I’ve a new baby on board right now, and I’m heavy with that pregnancy and responsibility that this new life to be born must take first priority.
I’m working to complete the production samples, which will be followed by the official photography of the line, then the official launch! Estimated production times will mean release dates will fall in the 4th quarter of 2017.
TD: Few people understand what it’s like to put your life saving on the line for something of which you have tremendous passion. How would you explain this level of commitment to one of your collectors that may take plastic/vinyl for granted.
JS: I’d only ask them, if you like what an artist does, be that patron of the arts and the artist who’s work you want to see more of, and support their releases, so they can do more and create more for you to enjoy.
My commitment and passion for dolls and the creation of them drives me to want to do more. My hope with sales is that I can remove the financial burden over my home that I’m using as collateral to create these dolls, and have enough left over to live, eat and cover my bills and expenses, and hopefully earn enough to do it all again next year. I’d love this to be my job and career path from herein.
I’ve certainly not taken the creation of these dolls in plastic for granted, their expense to create them has driven that home. As a child looking at Barbie and the shameful knockoffs, I could see back then that a budget $10 plastic doll has the similar mold value as a collectable, but it’s usually the sculpt and engineering quality that separates whether one is cheap and the other is of value. I thought then… if only they had gotten a better sculptor…, and that fuelled my young mind with interest and the possibilities, to want to know more about how toys were made before they appeared magically finished at the toy store. I remember the Jem dolls of the 80’s, and never asked my mum to buy me one, because they just didn’t look as beautifully realised as their box art, even though the dolls themselves were well engineered. So Barbie remained my Fashion Doll of choice (thanks to my mother who would buy them for me, with Beauty Secrets Barbie being my favourite, as she had more mobility and poseability over her sister contemporaries).
To me, for a Fashion Doll, I’ve always felt that what was of greater value was the quality of the sculptural art coupled with top quality engineering, and not the medium that should be valued.
New and Original 2003 Comparisons
TD: Your original Bizelle sisters were in resin, making you a pioneer of resin casting in fashion dolls of our genre. How would you communicate your desire to see your art translated in a material that many see as ‘cheap’ or inferior to the wide-spread perceived value of resin?
JS: The original 2003 Bizelle sisters were in resin, only because that’s what I could afford, with not even a thought of pioneering anything. When on occasion the doll fell down the stairs or some other similar mishap occurred, my heart would jump in my throat till I saw what damage had been sustained. If I’d see that the doll had a broken finger or some other part. I’d glue it back, but it forever felt broken, no longer whole. It literally felt like damaged goods, almost repulsive, I’d then be reticent of touching it, fearing it’s structural integrity was compromised and it would break again. I want to enjoy my dolls, with quality sculpts, engineering and durability. I want my dolls to be beautiful on display, and resilient in play, and then stuff them in my backpack if I want her as a travel doll, and know that when I take her out.. with a flip of her hair, she’ll still be beautiful and whole. Plastic for me is the perfect medium to realise all of that.
TD: Why not begin them in 12”, instead…it’s a much larger market. Was this a personal passion for the scale – or a need to fill a huge gap in the 16” plastic/vinyl fashion doll world (compared to the rise of Gene and Tyler – who thought we would ever be asking this question?)?
JS: My passion has been with the 16″ dolls since Mel Odom introduced his glorious Gene Marshall doll in 1995. My thanks always goes out to Mel, for without his brave vision, there’d be no 16″ dolls in the wake of Gene’s creation for us to enjoy.
I do collect 12″ dolls, and love them, and maybe one day I’ll explore that scale as well. Though it’s a much larger market to explore and appeal to, I also think it’s saturated with product, by companies and producers with deep financial pockets to back them, and therefore a harder market to enter as a solo doll artist/producer.
Moving forward beyond this first year’s mainline release focussing on Stephen Moor’s designs, and then releasing a new GODs line with these sculpts, using my own fashion designs for the next year, I’d like to explore a new sculpt variant of the female GODs body, releasing that with its own range of new character head-sculpts. Beyond that, I’d like to start the new sculpt of my own male doll companion to my female GODs, as she’s as tall or taller then most of the 17″ male dolls already in the Fashion Doll market. My goal has always been to have a companion set of female and male fully articulated body sculpts that fit into the 16″ scale Fashion Doll world, that work together stylistically and aesthetically.
TD: The clothing is amazingly detailed…how are the prototypes varying from production samples – what can the collector expect?
JS: The history of the garment factory I’m working with is… impressive, as is their internal quality control. I will also be overseeing aspects of this production, and do my own quality control. The collector can expect to see garments created at the very best of market quality.
Now having established this fantastic working relationship with this garment factory, and seeing how beautifully they are realising Stephen Moor’s designs… I can see that they’ll be more then able to realise my own designs that will be the focus of the next future mainline release.
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