SUKI DOLL

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There has been quite a bit of discussion lately about the appearance of the Suki dolls.

They seem to have the same effect as marmite, you either love them or you hate them.

I purchased a blank brunette one myself, because, one I was intrigued, two, to use the blank doll to practise painting Sasha eyes and three I  also wanted to see the similarities to Sasha dolls.

So with al little help from a few of my Sasha dolls, here are the comparisons.

The first  Sasha doll I compared the Suki doll with, was Maria a Gotz Sasha from the later production.

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As you can see the Suki doll is much shorter.

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A side view

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A back view

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Face to face

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Body to body

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The feet are much smaller.

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A view for the arms

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As you can see Suki is not Asymmetrical.

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Here Suki is wearing a Sasha doll dress, which is much too large for her. Suki has long wavy hair made  from a saran type hair and a side part. The vinyl she is made from is very dark compared to Sasha dolls.

Now I am compering her with an early Trendon Sasha

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side view

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Back view

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Trendon body

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Suki body

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The arms

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The feet

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Head

Now I am comparing her with a Gotz Sasha from the earliest production.

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Front view

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side view

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back view

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And here they are altogether

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So there you have it my little suki doll, she may not appeal to everyone, but then again beauty is in the eye of the beholder.

 

Thanks for looking…….

 

 

 

 

11 Comments

  1. I have a Suki, painted by Julian. She is a blond one but I do prefer the brunettes. I am not keen on the skin tone of them, they have been tangoed, also the hair is poor quality! Other than that they are a very well made doll and I’m glad I have the one.

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  2. I could not resist and bought one. I asked forvverylight painting. This is what I received.Suki appears to have spent too much time on tanning bed. Daughter knitting atop and plans to place darts in back to shape Sukis
    ample tush. One could short row also to help shape.

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  3. When a new mother mold is made there is an automatic 3% reduction. I talk about this phenomenon in Chapter 3 0f History. For this reason it’s important to reserve the mother mold for making new production molds, but never for molding the actual doll. Gotz didn’t have a standardized early production in the 1960s because they used the mother mold as a production mold. When the mother mold wore out, Gotz had to make a new mother mold , getting a new 3% size reduction.

    If I had had any previous hands-on mold-making experience, I could probably explain the phenomenon better, but I haven’t molded before. I am just repeating my understanding of the process, as explained to me by Brenda Walton, on-line expanations, witnessed in a non-doll molding fabrication plant, etc. You should ask Susanna Lewis for her input.

    Clearly, the torso was not molded from a Sasha, nor the feet. Look at the toe separation lines. I would guess the head and the arms/hands were the only direct uses of the Sasha doll in making the mold for the Suki doll. Further, I think the molder used the early Gotz head and arms/hands, rather than the Frido/Trendon dolls.

    And now for a word of caution to those who wish to duplicate the Sasha Doll. The Sasha Morgenthaler Inheritance Community owns the copyright to the Sasha Doll and are in control of further productions of Sasha. As far as they are concerned the Sasha Doll will never be made again. If there is a copyright infringement, they have well-versed lawyers who can make a person copying the Sasha doll in part or whole sorry they ever did. I have been asked by well-known doll designers as well as artists who love the Sasha doll if I would intercede on their behalf and the Sasha Morgenthaler Inheritance Community has consistently said “no” because it would need to assign oversight to a willing person in the Community and no one has come forward to accept this intensive job. I don’t believe the Morgenthaler family is watching like a hawk all of the on-line sources, such as ebay, with the purpose to catch anyone treading on their copyright. However, if someone among the many interested Sasha watchers and collectors wanted to tattle, they could. They would need only to get in touch with someone who is part of the Sasha Morgenthaler Inheritance community, consisting of family members and some devoted friends.

    Although I know whom I would need to contact to start proceedings, I promise I never will, but there are others with the means to research the matter. In order to write Sasha Dolls: The History I asked for permission and was vetted by the Sasha Morgenthaler Inheritance community, who sent me individual questions through their spokesperson and reviewed a couple of chapters, and asked for sample photographs. I spent two months satisfying their requirements before I was granted permission. , I shudder to think what the outcome would have been if I had hastily answered questions or hadn’t replied, or hadn’t even asked for permission.

    If a person is well-versed enough to copy a Sasha Doll’s shape, contours, and face, he or she should have the confidence to make his or her own independent creation that doesn’t attempt to replicate Sasha’s sculpting, which was informed by her conscience and intellect as much as by her observation of the human body through her medical studies of anatomy. The Sasha Doll is a work of art, not a mannequin for wearing pretty dresses. She is a Michelangelo or a Rodin among other doll makers, such as Madame Alexander or Tonner or almost every other doll designer and manufacturer I can think of. Sasha emanates an alive quality and it’s our recognition and awe of this quality we learn to love regardless of her physical or ethnic attributes. She expertly plays any part assigned to her, whether gypsy or wealthy child, street urchin or prince, Chicago Black or Inuit, Peruvian sheep herder or Tibetan priest, or mannequin for most Sasha Doll collectors who enjoy creating her outfits because, as Susanna Lewis observed, she has a perfect human form. And this alive quality despite the character portrayed is the beauty of Sasha Morgenthaler’s conscience shining through the vinyl, gypsum, hard plastic, or cloth we connect with and love. From this experience with her doll, we extend our loving acceptance to all other human fellows on this planet no matter their configuration. In this way, then, the Sasha Doll became a tool for teaching acceptance and humanity toward all inhabitants on Earth, no matter the color of their skin, their ethnicity, their economics, their religion, their values, their intellect — no matter how different from me and mine they were. Remember Sasha is a doll that soared upwards from the flames and hatred of World War II and her mission is just as relevant today as it was in the 1940s.

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