BJD Artist Sabine Vogel Specializes in Human-Like Porcelain Dolls
By Wil Peterson
Photos by Sabine Vogel
She’s created scores of miniature porcelain ball-jointed dolls (BJDs), but German artist Sabine Vogel has never been a doll collector. Her decades-long interest stems from a deep-seated desire to replicate humans in scaled-down proportions, an ongoing quest for perfection that is intoxicatingly addictive.
“I started creating porcelain figures in 1992 after a visit to Madame Tussauds (wax museum) in London,” Vogel said. “I was so fascinated by the lifelike quality and how the figures emotionally moved me that I knew this was exactly what I wanted to do — just on a much smaller scale. I do not collect dolls, because my motivation was never the doll itself, but rather the real human being.”
Vogel’s remarkable Little Porcelain People include an array of one-of-a-kind BJDs of various sizes that are created in her Bielefeld, Germany, studio. Female dolls are generally 18.3 and 18.7 inches (46.5 cm and 47.5 cm), while males typically are 20 inches (51 cm). Small elves also take form periodically. “There are characters that I only create once because I feel they must remain unique,” she said. “Others are made in different variations.”
Each doll has 14 points of articulation, including hyper-flexible elbows. “I’m particularly proud of the rotating elbow joints, where I’ve achieved a unique blend of aesthetics and functionality,” Vogel said. “These joints have become a signature feature of my work.”
While resin is the preferred medium for many BJD designers, Vogel — who personally casts her dolls and makes each accompanying component, from porcelain eyes to removable wig caps — has a different viewpoint. “My material of choice will always be porcelain. It is, by far, the most noble and enduring material, closely resembling the translucency and depth of human skin, while also allowing for the most intricate detailing,” she said. “My work has become increasingly lifelike and naturalistic. I now spend more time researching, carefully placing reflection points, which is becoming ever more important in today’s fast-paced world. I work deliberately, taking my time and focusing on the small details, like the finishing touches, hand-sewing more, painting in multiple layers, and truly enjoying the creative process.”
An all-consuming passion for creating miniature beings first emerged for Vogel around age 8, when she became fascinated by a thick, pliable clay in the family garden. She later studied anatomy and physiognomy, then convinced friends to pose for artistic interpretations of the human form. “Naturally, I encountered various obstacles along the way. Working with porcelain is particularly challenging, requiring numerous experiments to test new ideas and continually pushing the boundaries of what’s possible,” she said. “These challenges have only fueled my passion and commitment to mastering the craft of doll design.”
Vogel was thrilled when she immediately made a notable debut in art circles. “After experimenting since 1989, I completed my first doll, which I later publicly showcased, in 1992. I worked on it for about a year,” she said. “In the summer of 1992, I presented the doll at the European Dollguild Congress in Hamburg, where it was awarded the prize for Best Idea. Even my first doll had 14 articulation points, which was quite special for porcelain at that time.” Other awards have since followed, including several Max-Oscar-Arnold Art Prizes for fantasy and children dolls.
Having trained initially to become a florist, Vogel juggled that job while honing her doll-design expertise. “On the side, I spent every free minute developing my skills and learning, essentially managing two careers at once,” she said. “It was a challenging time, filled with highs and lows, but I knew exactly where I wanted to go, and that helped me persevere. The official start of my dollmaking career, after quitting my florist job, was December 24, 2002 — a Christmas gift to myself.”
Vogel’s dolls are available through her website, during studio visits, and at exhibitions. “Some collectors even visit me to see what I’m working on before I share it on social media,” said the artist, whose attention to detail is a defining characteristic. “I design the clothing to fit the character, draft patterns, and sew the pieces from white fabrics. Afterward, I paint the clothing with highly pigmented colors. Some of my little people get special accessories to highlight their personalities. I make them bags, jewelry, chocolate boxes, and even technical-looking devices like smartphones, which have my logo — a small bird — on them.”
One of Vogel’s proudest achievements was having her Nefertiti BJD exhibited at the Neues Museum in Berlin for several months. “When I sculpted Nefertiti, I often thought about the historical bust of her that I dreamed of seeing in Berlin,” she said. “I never imagined that just two years later, I would travel to Berlin to place my porcelain Nefertiti in a display case right next to the original!”
The artist’s future plans involve remaining receptive to whatever sparks ideas and creativity. “I feel like I’m currently on a good path. What will await me along the way? I like to be surprised — I’m open to new encounters and inspiration,” she said. “Additionally, I have a list of goals I still want to achieve. Right now, I’m working on children for the Little Porcelain People.”
Sabine Vogel
