Happy Halloween dolly peeps! This meet up happened a few weeks ago at Artmaze, the new distributor here in LA for all things cool for Dollheart. Though I am a little late with posting these, it is still timely since it was a Halloween meet.

Enjoy the shots! Side note, Doll-Lite is now a year old! W00t! We had one special article, but we should have a few more coming that will be anniversary celebratory. WHEE!

Our grand Hostess, Ms. Cholong!

Ms Cholong

Several of the costumed doll owners….

New dolls from a company called Demon Garden, sold through Happyhouse4u. Three dolls, it seems and they are available over here.

Measurements:

Total high: 42 CM
Shoulder : 9 CM
Neck : 7.5 CM
Bust: 16.5 CM
Waist: 14 CM
Hips: 16.5 CM
Feet long: 5.7 CM

*DG (demon Garden) Normal skin similar to SD(Normal) , AOD (Y-Normal ),DZ (Y-Normal )

*DG P-Normal skin similar to DOD

Info above is per their website.

Names: Lian, Shelly, and Amy.

Check them out.

New company “Peapod Doll” who makes dolls and doll parts. First items are double jointed goat hooves for YO SD dolls. New dolls will also come soon. Please check them here!

The month of October is Doll-Lite’s 1 Year Anniversary! So, we revisited a few of our customizers, manufacturers and friends who we met in the last year to see what they have been up to.

Online Name: Zozo or Zozolala
Real Name: Zozo
Contact: zozo@zolala.nl
Website: www.zolala.nl and www.zolala.nl/Sophie/

Happy 1st Anniversary, Doll-Lite! Here’s to many more. And thank you, Mercy, for this lovely blog

Ok, a follow-up on my interview that was published at Doll-Lite in May..
I have been nicely busy in the months since. I added a couple of new designs and colors to Zolala!, my Unoa fashion shop, and I’m now slowly selling out some of the older designs to make room for the next collection. I have a whole list of ideas for new items and colors I would like to add, and I hope to do so (or at least some of them) around the beginning of the new year.

But mainly it was the arrival of my new tiny doll in June that kept me most occupied: a 27cm Planetdoll Mini Riz, named Sophie.
It was the first doll that came home with her background story practically written out: Sophie is an 11-12 year old French girl, and her lifestyle is somewhat peculiar. She lives in the attic of an old Victorian treehouse, where she spends most of her days with dressing up in antique clothes that she finds in old trunks and wardrobes. The whole attic setting is practically frozen in a time (long) past, where the outside world is almost nonexistent.

In other words: she turned out to be so different from my cool and tomboyish and normal Unoa’s that I had no clue how to even start making clothes for her. She seemed to be a sort of cross between The Little Match Girl and Pippi Longstocking.. and possessed with a mind of her own when it comes to what she likes.

So all of a sudden I found myself studying Victorian and Edwardian clothes, the Roaring Twenties, the Great Depression – roughly the time period between 1870-1940. Fascinating, inspiring, and a bit of a challenge because I’m not looking for adult fashion, but for what children and young teens were wearing in that specific time frame.
Along with soaking in all the information, it also dawned on me that I had almost no ‘old-fashioned’ materials to work with, and I made a trip to the fabric store and collected tons of things I never even looked at before: ivory and pastel colored fabrics, tulle, lace, ribbon, tiny roses and feathers.. So the ingredients for my new project were there.

I started to draft patterns from scratch, did a few try-outs that turned out cute, and then seriously started sewing ‘Sophie Style’ outfits. And along the way I noticed that I really love to work in a style that is so totally not ‘me’ for a change!

In August I opened a new online shop: Sophie’s Attic, where I sell Sophie’s characteristic ‘put together from various attic treasures’ costumes at ‘Le Boudoir’ and ‘Merveilleuse’. The overall feel is old-fashioned, antique, sentimental.. – typically clothes that were once stored away as heirlooms. But there also is an enchanting and whimsical ‘dressing up’ part, named ‘Carnivàle’ – where anything goes, from romantic ballerina dresses to circus-y goofiness.

I built a 1:6 scale attic diorama to use as a background in the photos. It’s deliberately ugly and dark, but charming in its own way, and I think it is a perfect setting for Sophie and her outfits.

(The clothes are specifically designed for 27cm Planetdoll Minis, but I have read that their measurements are very close to Bobobie Isabella/March, Dollshe Ru, and Kazekidz’ tiny Sage – and probably there are a few other slim tinies I haven’t discovered yet.) My goal is to have at least a couple of new outfits or ’specials’ (like the limited batch of Union Suits) up at the end of every month, and announcements of sales are made by the email newsletter, that you can sign up for at the shop page.

Sophie poses wonderfully, and can look so real in photos – so aside from modeling, she also became a little muse for me to try to capture the sentimental childhood hopes and dreams of a long-ago time. Very nostalgic and a bit sad. *laughs* It’s fun though, because Sophie still is just a little girl, with all the silly obsessions and habits that all little girls seem to go through, no matter what time (or anti-time) they live in. I really enjoy discovering more of her personality, and of her story as it unfolds before my camera and draws me into her world.

I’m definitely excited about the year to come. Of course I hope to continue what I am doing: sewing doll clothes, add new designs to the Unoa shop for the next collections, maybe expand Sophie’s Attic with a few standard separates.. I really enjoy the diversity of those two shops.

Doll-wise I don’t have anything on my wishlist really, they tend to take me by surprise anyway! But I’m looking forward to the Christmas specials, and to what my favorite doll companies and small businesses come up with in 2010.

While these aren’t exactly dolls, they do fall on the same principle of what we talk about, only on much larger scales. Plus this is pretty cool.

Commemorating the 20th anniversary of the fall of the Berlin wall, these giant marionettes went through Berlin, acting out a fairy tales. There are a number of other videos as well on You Tube if you want to take a look.

Your name: Therese Olsen (twigling)
Your Company Name: Enchantment Doll
Your Website (and where to see your work to buy it): www.enchantmentdoll.com
Method of Payments Accepted: Visa, Mastercard, Telecheck and Paypal.

How did you get involved in the doll industry?
At the time when I first became interested in ball jointed dolls, there was not as much selection as there is today. Having previously been collecting and customising 1/6 action figures, I had a high expectation of the level of articulation in BJDs and in the end I found it wanting. I decided I would try to make limbs that were more poseable without the need for wiring or showing huge gaps in the joints when they were flexed. Originally I just wanted to make a more flexible body for a head that was very dear to me; this body would need to have more mature proportions than previously seen, but most importantly it had to have better articulation. I started showing my work-in-progress images on Den of Angels, and lo and behold there were others out there who longed for more articulation as well, so as the project progressed and more people expressed interest in my twigLimbs, I decided to look into getting molds made and to be able to reproduce the parts and sell them. At first they were just arms and legs I wanted to use with an older style Volks SD torso, but eventually I was approached by Ken Stone (otherunicorn) who offered me the use of a torso he had carved in wood. I took him up on the offer and altered this torso to be able to fit my parts, while also still making sure the parts would fit the SD torso I intended it for.
Initially I contracted the work out to someone who claimed to have experience with moldmaking and casting, but I was not satisfied with the quality of his work, and when the prices suddenly went up and the timeframe blew out, I had to take matters into my own hands. With the guidance of veteran doll artist Kaye Wiggs, I learned how to make silicone molds and how to cast in resin, and I was able to fill all my orders with some delay. By the time I was finished producing all the casts, I was very much “over” the sculpt and bored with it. I could see so many flaws and things I wanted to change, I had learned more about anatomy and also had some new ideas for jointing and improved methods for making the molds. After returning from the 2007 BJD Artists Retreat in Ohio, I started reworking the original parts, building on the intentions of mature proportions and better articulation. I also wanted the doll to look smooth and streamlined so the joints would blend in without looking mechanical. In addition I had to tackle a new hurdle in sculpting a head to go with the body. The project went from being known as twigLimbs2, to “Ylisande”.

Since long before the first artist event, I had been in touch with Catherine Sanders, owner of Dollfair and now Enchantment Doll; in fact she was one of the original buyers of the first body I made. I had told her of my plans to build a new doll, and she offered to help me produce it, as it would be a challenge and potentially a great success to manufacture a BJD without taking production to Asia.

When did you start? Tell us about your company.
I started building the first doll body back in late 2005, and it took me a year and a half to finish the sculpt and cast the edition as a solitary effort. In fall 2007 I started using the original sculpt as a framework for creating Ylisande. My company if you can call it that, is just me pushing clay around, I do the molding, the casting, the sanding etc, and at the current pace I get about one doll finished every 6 months. It’s not that it takes more than a couple of days to finish a doll from pigmenting, to casting, sanding and stringing, but all the rainy days in between (you can’t cast when it is raining, because the urethane is very moisture-sensitive) and other commitments I just don’t get around to it as often as I should, or would like to. That’s why I’ve been incredibly lucky to have Catherine Sanders on my side; thanks to her marathon efforts and generosity, we were able to outsource the casting of the dolls to an American contractor. But it is Catherine’s company Enchantment Doll that is responsible for finishing and stringing each doll, and also handles marketing, sales and logistics. I never knew there was so much involved in making a doll. If I had known, I might never have gotten out of the starting blocks! I still do very occasional casting, and have grand plans for a number of spectacular one-offs, but Enchantment is offering a limited run of basic dolls in three different, lighter skintones. While Ylisande is intended as a multi-ethnic doll which would look stunning in darker colours, we have not yet been able to properly work out all the kinks in the larger scale casting process to be able to offer tan and ebony dolls. The first set of molds having worn out, and me having started seeing small flaws and things I want to edit in the sculpt, we have decided to hold off on producing any more dolls until I have fixed up the problems with the current sculpt. These problems, by the way, are more to do with the amount of cleanup and preparation time than the function and aesthetic of the dolls. It’s things that I never noticed while I was first creating Ylisande, that might never be apparent to anyone else, but to me they are glaringly obvious now.

In March this year (2009), I visited the Enchanted Doll studio and was met by literal mountains of doll parts. It was daunting, that’s for sure, and during my visit I spent 12 to 14 hours ever day just sanding parts and making wires and hooks and drilling holes. Because I am the creator of Ylisande, I know her inner workings better than anyone, and so I felt I needed to complete some of the more complex tasks myself to make sure they were done right. I was also able to train a new team member in how to string the dolls a certain way, and also how to sand seams and make sure the dolls were as perfect as possible. I honestly thought that after eating, drinking and sleeping Ylisande for over a week, I would be thoroughly sick of her, but what actually happened was that I fell in love with the sculpt all over again, found myself getting excited about her lines and details, and felt a reinforced pride in my work.

What is your background? Have you had any special schooling (art school, sculpture, painting, etc)? Tell us about yourself.
While I do have a vocational arts background, it was not specifically to do with sculpting, and in fact it led me on a path towards an Honours degree in Visual Communication (graphic design). The plan was to get into a career that was creative but also economically viable, however it didn’t take me long to realise that I didn’t like working with commercial art or taking briefs and directions from clients who had no idea what they wanted, or had already made their own artwork that has to be completely rebuilt in order to be suitable for print. Going back further, both my parents are very crafty and hands-on people, my dad is quite a handyman and has done most of the work on their house himself. He also does woodwork, scrollsaw and intarsia; while my mum is very good with sewing, knitting, crochet and so on. They both taught me and had a huge influence on me; they were also very supportive of any creative endeavours and accomplishments I made. I was born in Norway, and went to Australia to attend university. After spending 3 years studying, I found I loved the country and the climate and the culture so much I wanted to stay there.

Why dolls? And why Asian Ball Jointed Dolls?
I’ve always liked playing with dolls, and I can remember always fantasising about dolls that didn’t exist and wanting to make them. When I first became interested in 1/6 scale action figures, it opened up a new world for me, but as I gained experience in modifying and customising the dolls, I was increasingly modifying the store-bought bodies so much to suit my vision they no longer looked anything like themselves I began to realise I might as well scratch-build instead of re-build. At about the same time, some of the other ladies on the 1/6 forums started talking about BJDs, some of them bought one, and even though I initially resisted due to the pricetag, I was eventually sucked in. I think what appealed to me about BJDs was the customisation element, they were made for it and there really was no limit to what you could do; the polyurethane resin was also a lot easier to work with than vinyl or ABS plastic. I think the larger scale also appealed to me because the tiny details would have to be quite so tiny. On the one hand that means less margin for error and anything that’s off will be that much more noticeable, but on the other hand that also means I can catch those errors much more easily. Lastly, I think ball jointed dolls were the first I had come across that were this big and had fairly decent jointing. If they had been rigid figures, I doubt they would have held much appeal for me.

Do you have any other interests? Collections?
As far as interests… I love reading, especially science fiction. My partner and I keep chickens for eggs, so I do have a fledgling interest in sustainable and green living. I spend enough money on BJDs that I don’t really have any other things I can afford to collect, unless you count beachcombing… I love finding beautiful natural objects. I had a sizeable collection of 1/6 female action figures and parts and accessories that I recently gave away… once I found BJDs I realised I was never going to be able to go back to the smaller dolls.

Do you prefer working on male or female dolls? What types of dolls do you enjoy creating most? Why?
I’m only really interested in making female dolls. When I buy or intend to buy dolls, I view them with their potential to be girls, whether the sculpt is intended as a boy or a girl. I don’t know why, but feminine youth and beauty seem to be something I strive for. I’m not interested in BJD that depict children or toddlers. I also don’t attach to dolls as characters so much as because they are pleasant or interesting to look at. So far both the dolls I have made have been female, the second a bit more mature and detailed than the first. All future sculpts I have plans for at the moment are also going to be female. The female physique just interests me more for some reason, maybe because I am a woman myself, I have a starting point and a decent reference if I look in the mirror. A lot of older anatomy books focus on the male form, so I often end up using images of models. As a result, my work does end up being quite idealised, but I do try to aim for a level of realism that pleases me. When it comes to faces, I tend to go for sculpts that are intended as males, or that get criticized for looking masculine (and end up being used as male characters by other collectors). When I sculpt, I find it hard to pull something directly from my imagination without using reference or inspiration images. I don’t usually feel like I have achieved a good sculpt until it looks like someone. Of course, this isn’t always the case, as for example Ylisande doesn’t look like anybody, at least not anymore. Although I did have reference face I was aiming for when I sculpted her, she ended up deviating away from that along the way until she became something quite her own.

Tell us about your products. What are your featured lines?
Well the original twigLimbs body is no longer being produced, this was a slimmer body with double-jointed elbows, knees and hips. When I look at it now, I think of it as being rather clunky. As an amateur caster working in some cases with unsuitable products, the quality was a bit mediocre, and the resin colour was all over the place. It’s good to see though, that when it does come up for sale second hand, it usually sells for more than I charged.
Ylisande is the first true product, she’s sculpted in a much more sophisticated style, and she’s been professionally cast. A lot of woman-hours also went into cleaning up and sanding each doll, the castings were quite rough when they arrived, but with patience and Dremels and sanding sponges, the team was able to lovingly restore every doll to its original shape. Ylisande is just under 60cm tall, she wears an 8/9 inch wig and 10, 12 or 14 mm eyes. Her proportions are roughly the same as other 60cm female BJDs but she has a more adult build, so clothing may fit differently on her. I usually keep my own Yli in minimal amounts of clothing, I feel it is almost a shame to cover up those beautiful lines. Of course there are practical reasons also, as I am often headswapping, taking measurements and trying things on to see if they fit.

Why did you decide to make what you did?
Because it wasn’t available to purchase. And because I now had the skills, tools and free time that I needed to be able to see it through to a finished creation, unlike when I was a little girl and I wanted to make a mermaid out of beach-washed rocks, but couldn’t find the correctly shaped rocks, and also couldn’t safely drill the rocks or string them together.

Initially I did build just for myself to make a doll that had all the qualities I longed for, but I eventually came to realise that there was a market for what I was creating, that I wasn’t the only one who wanted a curvy female doll with breasts that obeyed gravity and joints that would allow her to do more than just sit down and stand up, and occasionally fall over.

So this same thing is true when I wonder why I continue, I’m still striving for that doll that has everything I want; of course the criteria keeps changing as well, but I am still sculpting to please myself before anyone else.

What where your challenges during your creation and bringing your doll to market? Were you prepared or knew they would happen?I was in no way prepared for any of the challenges we’ve come across since I started making dolls. Once the sculpt was out of my hands, I really had no idea what would come next. The biggest surprise and hindrance has of course been the economy. If we had been able to get Ylisande ready 6-8 months earlier than we did, things would have been different, but neither Catherine nor myself had manufactured dolls before and it was a steep learning curve, and a lot of little surprises along the way that slowed us down. This of course also meant that while we were struggling to get everything ready, other companies were bringing out new dolls left right and center, so that by the time Ylisande was available for sale, she was no longer the only mature and well articulated girl on the block. I still think she has something special going for her, but it’s hard to be visible when the market is so saturated and you are competing with fantastical dolls with anthropological features, super-busty model types or lower prices.

What inspires you (your sculpts)?
Beautiful and strong women. The different human ethnicities, and all the variations and differences that human faces and bodies have from one individual to the next. I see strong, unusual and appealing faces or characters in pictures or in movies, video games, or on the street, or read about them in books; looks or characters or features that grab me and make me want to portray them. Archetypal characters are always interesting, as well as juxtaposing male characters into female personas. But most often I come across a random image of someone, and it speaks to me in a way that makes me want to create something inspired by that image. And of course, I am inspired by other artists, other doll companies, sometimes inspired to borrow an element from others, sometimes to go ahead and do the complete opposite of what they’ve done.

What do you want people to think when they look at your products?
Wow, that’s awesome, I want one! Just kidding, I guess I want them to understand and appreciate the thought and love that has gone into the design and engineering of the joints and the sculpt. I love hearing from people who have bought my work, both the good and bad.. critique i very important to be able to improve for the future.

What do you hope to accomplish in the next 5 years?
Hmm, I’d like to refine and redefine the way I make joints on my dolls, and I would like to sculpt and produce at least another two new bodies, and a handful of new faces ~ suitable for darker resin skintones. I would like to actually turn a profit one year, and pay off my student loan and our mortgage. I’d like to learn to paint a decent faceup, and to take better pictures.

What sorts of things do you enjoy the most about your designs?
You mean about making them, or just looking at the finished product? When it comes to the making, I like the transition from sketching something out in clay with a half-formed idea in my head, into the stage where something tangible and recognisable takes form that I can look at and be pleased with. In the finished design, a strung doll, I enjoy being able to set up a pose and have her hold it. Even better if it turns out to be a new pose I didn’t know she’d be able to do.

What is the best thing about designing and selling Asian ball jointed products?
It would have to be that I am able to make exactly what I want, instead of having to buy something and then customise it till it looks sort of the way I want it to.

What is the most difficult thing you have discovered about designing and selling that you never knew before you started? What were the easiest parts of creating your doll that you enjoyed the most?
The most difficult thing would have to be getting the engineering to work just right. Just because two pieces fit together after I’ve sculpted them doesn’t mean it will work when the doll is cast and strung and has all its weight in place. Trying to compensate for and work with, rather than against, the tension of the elastic always comes back to a lot of trial and error.

The easiest part for me is probably to sit back and decide it’s time to have a cup of tea and let the clay cure before I continue! Sanding is also pretty easy but I wouldn’t claim that it is enjoyable. Just mind-numbingly boring, and a task I don’t have to concentrate too much on, so I can think about other stuff, knot out problems and so on while my hands are busy.

Who would you love to collaborate with? Are there any designers/sculptors that don_éìt currently work with your company that you_éìd like to work with in the future?
Most of them, I would think. I’d love to do a collaborative sculpting project with Kim Ki Yong of Dollshe Craft, but I imagine the language barrier would create some issues. Or how about Gentaro Araki?? A girl can dream…

Why choose doll design as a form of Self Expression?
I suppose it’s something to do with the exploration of the human form. It goes beyond being a static sculpture in a fixed pose, and then there is the compromise of working with a rigid material to make a posable figure depicting a being that is made of soft flesh over a rigid frame. The challenge is that of creating a neutral, yet detailed sculpt that will look natural in and can mimic a range of human poses.

How long does it take from start to finish on a typical doll/head (from concept to selling it on your website) to create and complete? How long did it take you to complete your original body with head?
From start to finish, the first twigLimbs took one and a half years, and I would count that as a part of Ylisande as well, since she was built over the original doll. She took 6 months to sculpt, another three to prime and mold. It was almost ten months from sending the masters away to be molded and cast before we got the finished dolls, and then it took another two or so months to finish all the dolls. Of course this isn’t dollmaking 24-7, I’ve had breaks and timeouts and waiting for clay to cure, and rainy days and real life interference. Once I handed her over to Enchantment Doll and from there to the casting contractors, there were some delays and casting problems that we had no control over, as well as the production schedule having to allow for runs of other dolls that were also being produced.

What do you think you learned most about your experience creating and selling your own doll?
That it is a lot harder than I first thought, and it’s definitely not a get-rich-quick scheme. There’s not a lot of money to be made in this industry when you balance it against just how much work is involved. There is also the production costs to consider. For an amateur hobbyist who buys resin and silicone in relatively small quantities, it can be prohibitively expensive. And when outsourcing the production, you have to cover the labour as well as materials. But I’ve also learned about my own capacities and limitations, I have picked up a number of new skills such as moldmaking and casting, as well as using a spraygun for priming. This was very much the first time I’ve taken anything through to near-commercial production, and even on such a small scale there was a lot involved. I am definitely better prepared for the next big adventure.

What sets your doll apart from the others?
It’s made in the US for one. I would say something about the sandable tan resin formula, but since I’ve only really used it for my own artists casts so far, it doesn’t apply to many of the dolls. I think that the sculpt is attractive and fairly realistic, and she has good articulation, and you don’t often find both of those in a doll in my opinion.

What do you think is the most exciting thing about the doll industry?
The potential. You never know what any of the artists or companies are going to come up with next.

How do you feel about people modding your sculpts?
I don’t mind at all. Ylisande’s face isn’t set in stone, and I have purposely left margins for alteration. For example the eye openings are small, but can easily be enlarged. Or the creases of the eyelids could be carved deeper. The nose and lips are large and would allow for a fair bit of material to be removed to alter the size, look or expression. The top of the head, or the chin could be shortened so the head would not look as long, the cheeks could be shaved or the cheekbones could be reduced. I have played around a little bit with some junk casts to try to make her look different, and once I start, I actually find it hard to stop. It’s fun to dig around and find new faces within. In that sense it is almost a little disappointing to me if owners don’t take advantage of the potential and having a go at making their dolls more unique.

I also don’t mind people making hybrids using only the body or the head, we found that Ylisande makes an excellent male doll on a bulkier male body, and some very lovely girls have come out of using TL2 body with other artists heads. The only think I flinch at is something like converting this very curvy female body into a boy, it seems like a waste of a good sculpt to sand of the breasts. However, people can do what they want with their own dolls, once they’ve bought it it’s their choice.

Do you consider current trends when sculpting a new mold or do you follow only your inspiration?
I don’t think I pay a lot of attention to trends, unless it is to do with female dolls or exceptional new jointing designs. I’ve noticed there are more and more mature females coming out, taller bodies, grown up faces and so on, but not overly much creativity on the articulation front, so I try to keep up on that and see what I can think of that other artists haven’t. Then there are the fantasy dolls with optional animal parts and that sort of thing, it gets the wheels in my mind cranking, but I haven’t started thinking concretely about putting it into any sort of form yet. If anything I’d like to wait till the trend fades away and then resurrect it.

How important is customer feedback to your creative process?
It’s incredibly important! It’s one thing to be content or even happy with with what I’ve done myself, or to have my mum say she’s proud of me (or my partner, who can’t tell the difference between my sculpt and anyone else’s, be it male or female). I find it very rewarding to get feedback, both positive and constructively critical, so that I can become aware of and improve things I had not noticed or keep things that are popular and desirable. Although I can’t please everyone I can certainly try to take on important suggestions from the community and from the owners, or from other artists in order to streamline the shape and function of the dolls.

How large is your facility and how many people work for you in producing the dolls?
Well, I work out of the second bedroom of our house, occasionally extending myself to the garage, back-yard or dining table. Enchantment Doll exists in a huge studio space called Atelier Nouveau, with a small team of dedicated individuals that handle orders, marketing, assembly, packaging and shipping.

What do you hope to achieve as an artist and company that would set you apart from everyone else?
As an artist I hope to be able to create something that is unique and strong in its own right, a doll or a system of jointing that is flexible and attractive, and that will inspire other artists and companies to raise the bar. It would be kind of flattering, and I guess I would know I made something really special if it was appropriated by another another company and used in their dolls.

Thanks to Twigling for the interview!

Also a thanks to Armeleia and Britta K. Bergersen for some of the great photos.

All the details are over here, so I suggest reading them for yourself, but amoung the details are one offs, merchandise and special classes which you can register for.

Check it all out on their blog and registration starts now for the classes and the event. The SD Workshop is November 14th I believe and here is the registration link. Do it now because sign ups are for a limited time and lottery style. Good luck!

Check it out!

Ordering period : From Sep.23th. to Oct.10th.
Details here at Soom.

New Dollheart pre-order available to all USA Dollheart retailers: included Black theme (The Destiny of a Broken Vow)and White theme (Christmas Limited) this time.

“The Destiny of a Broken Vow” is the new collection of DollHeart with the story about “Time”. Sometime, conflict will be appeared because of the mis-undestanding or the different of the expectation. However, I always trust that we should try our best to follow the vow which have been made to another one, no matter the time is changed.

Pre-Order Deadline: 30th Sep, 2009
Launch Date: End of Nov,2009/Begin of Dec, 2009

Yours,
Pasu Lau

Details here.

Check out their Facebook page for their White Theme/Christmas.