Meet Dashenka

We're friends here.  Right?  So let's be honest.  I'm going through a difficult time right now as it was necessary to ease my dog, Dover, over the Rainbow Bridge.  He passed away on February 17th from Lymphoma Cancer, and I miss him terribly.  I just received the most loving card in the mail from his oncologist and her team.  In it, each of Dover's friends, and they were!, wrote something tender and endearing about the relationship they had with him over the last two years.  These women became my friends, too, during that time.  So writing, focusing, is difficult, if you can believe that of me.  But, I have a lot to share so let's begin.

I don't know if I'd mentioned this before, but last October, I purchased my very first Dianna Effner Little Darling.  When the email arrived that my "turn" had come up (you have to get on a waiting list for one), I did not have the money to purchase one, but found a way to buy one anyway.  She's an amazingly beautiful vinyl doll - that simply shouldn't cost as much as these artist's are asking - but, we all know about supply and demand.  Straight arms and legs.  Not one joint of articulation, but gosh, they're gorgeous!  You might have thought that I would want to sew for her, but when I saw the incredible knitted artistry in costuming that the Russian needle workers were doing, my "Polina" would only own and wear their work.  And, it remains so.

The interesting thing, is that many of the listings for these outfits indicated the costuming was for Effner Little Darling, Betsy McCall (Tonner), Maru, and Paola Reina - 13" - 14" dolls.  Paola Reina?  What doll is that I wondered?  Loved the name, so I asked my friend, Nadia, about the dolls.  I'd bought a couple of outfits from her for my Little Darling, and her listings had included the Paola Reina name.  She gave me a brief description of the doll, and told me that she was sure I would enjoy sewing for her.  So I went on Ebay and purchased a "Dasha" doll from a Russian doll dealer.  It would take the requisite 6 - 8 weeks for the doll to arrive, and the package was delivered after the new year.  Oh my goodness, was she ever adorable!  I fell in love the minute I unpacked her. 

The Paola Reina is a 13" doll of high quality vinyl.  Her rooted hair is a German or Italian nylon, thick, lush and wonderful to comb.  Her eyes are "real", not painted, and her eye lashes are the soft lashes found on antique reproduction dolls.  The only complaint I have is that they added a vanilla perfume to her vinyl thinking this would appeal to children.  I can only hope the scent goes away in time.  I'm sensitive to anything perfumed, so its a personal grievance.  One of the best things about these dolls is that they only cost $60.  Paola Reina is a doll factory in Spain, and since their debut in 1994, they've grown into a world wide business.  They have a full line of dolls to include baby dolls, but the 13" doll is so lovely and playable, that she's sure to catch on with collectors of Little Darling - if they simply give her a chance, or don't wish to spend an exorbitant amount of cash.

When I started researching what people were doing for this doll in ways of costuming, I found Russian artists that made stunningly beautiful shoes and boots for her from real suede and leather.  Dashenka (the sweeter name for Dasha -  a Russian variation of Dasha conveyed to me by Nadia), already has 12 pairs of custom made shoes for the wardrobe I've intended for her.  The 13" can also wear some of the knitted outfits offered on Etsy and Ebay, and sellers will state which ones.  She is a little Russian child doll, so I chose to create a folklore or peasant-type of styling for her wardrobe, but contemporary. The main difference in the bodies is that Paola Reina has larger feet, a larger head, and a shorter body length, so any patterns you might purchase under the Little Darling title will need major adjustments. 

I began with a basic dress with a natural waist, simple neckline and puffed sleeves.  This little blue dress is made of brushed cotton and is soft and "warm".  Since I began her wardrobe in winter, I wanted Dashenka to be cozy.  Her pinafore is made from the woven cotton I used in the apron for the Alsace-Lorraine doll I made in the fall of last year.  I love this woven cotton as its very versatile and easy to work with.  I recall as I was making this, that the outfit reminded me of something the Hummel figurines might wear.  So, European in style (Sound of Music even?), and traditional.  I also created a little head scarf for her and hand edged the entire thing to finish it nicely.  Dashenka is wearing a pair of the custom made boots I ordered for her, in this outfit.

She also needed a coat, and against my better judgment, I bought a pattern for it from a seller on Etsy, that came in a pdf file.  It was exactly the hooded style I was looking for, and decided to give it a try.  As it turns out, I had to make this over three times to get the fit, and just about redesigned the entire pattern, which only had four pieces.  The hood, the back on a fold, the front which was exactly the same as the front piece, and the sleeves.  The most upsetting of the adjustments was that the hood was HUGE.  It was so big that the tip of it in the back came down to the hem.  I doubt this would even work for Little Darling.  There was nothing wrong with the pdf as far as size translation, but maybe much larger seams were made, and since the directions were in French, I can't be certain.  I like hooded sweaters, jackets and coats for myself, so I enjoy them for my dolls, too. 

The coat is made from a suiting brown wool and is lined with a textural woven cotton that I've had in my stash.  That was another thing I wanted to do with Dashenka.  Use fabrics from my own stash.  The coat features lined patch pockets in front, and leather loops that close over wool covered buttons.  I'm still debating how best to create patterns for her because, I'll admit, she's difficult to dress since her arms move in only two directions.  Tightly forward and back.  This is another reason why I love sewing for the wood body Lawtons.  Their arms can go straight out "airplane style".  Lastly I made a pair of thick, warm stockings for her in a shade of light cream.

 

It was my intention to make Dashenka one outfit that could go from winter to spring, hence the coat, but I was having fun, so I made her an outfit designed only for winter.  During this time, I was reading the book The Bear and the Nightingale, a Winter Trilogy.  Its a story told by an American author in the style of a Russian folk tale.  Immersing oneself in a culture to create a style can be rewarding, not only for the education of it, but it gives you a deeper understanding of the subject on an artistic level.  I also continued to research clothing styles on the Internet as well as Pinterest, and came upon a website called RusClothing.com  I really hit the jack pot with this one.  They not only sell traditional Russian styles, but they sell fabric from Russia!  Cool.  So at some point I'll order some half yards of fabric that will work on a small doll.  And, as for contemporary styling, what's better than looking to the work of those knitters in Russia?  Just copy the style and adapt it for fabric.

The winter outfit consists of the baggy, bloomer style, pants worn by Russian boys (and these were shown on little girls).  A short, lined vest that buttons up the back, is worn over a simplistic peasant style blouse.  The fabric is a thin wool suiting, in a lovely dark gray, that I used for a Lettie Lane pilgrim dress once.  Wishing to brighten things up a tad, I hand-stitched on this adorable jacquard trim that was given to me as a gift from Svetlana, a Russian friend I met several years ago.  She'd sent me several colors of the jacquard ribbon, so I have more to work with in the future.  The sweetest thing about this ribbon is that it has scalloped thread edges, like lace.  I'm still debating adding a little red heart button to the front of the vest, but for the time being, I'll leave it as is.

For this outfit, Dashenka is wearing a pair of gray suede boots that I had made for her.  On the RusClothig website, they showed a large jacquard ribbon head band on a child that tied under the hair with ribbons.  So what little left I had of the black and red ribbon, I used for a little head dress.

The lack of brightness in this outfit had to be dealt with.  Sure, I was in a dark mood with my doggy nearing the end of his life.  The chemo had stopped working and his time was limited.  I will tell you that he did miraculously well on the chemo, which kept the cancer from growing, and at the end, his suffering was short.  My goal was "no suffering".  I did the suffering for him.  SO, to brighten my mood, and the outfit, I decided to make my doll a little rag doll in a traditional sarafan and kokoshnik (head dress).  Her dolly could be the bright spot. 

 

This was fun. I can't help it.  I'm always going to be a miniaturist at heart.  I love tiny things.  I guess the last time I tried little stuffed dolls, was in the summer when I made a few little Chinese "star" dolls as toys for Ten Ping dolls.  This one is made from two arms, two legs and a torso with head.  I thread wrapped the wrists, ankles and neck after stuffing and sewing the limbs on, to create the soft sculpture.  I should have put more stuffing in the head, but I'll make another at some point and do that.  The face was ink drawn on simulating the style on a Matreshka doll I saw on images from an Internet search.  Matreshka is another word for the Matryoshka nesting dolls. 

Dashenka's dolly wears a simple "tiny doll" white blouse, and a  cheery red sarafan and scarf.  The sarafan, or peasant apron style dress, comes up high on the chest, to just  under the arms and has straps over the shoulders.  The length fabric is generally gathered and sewn into a band at the top, but for this little doll, I designed a conical pattern to avoid the gathers.  The jacquard ribbon sewn to the front is another one of the samples Svetlana sent to me.  Her hair is DMC 4 yarn and was both sewn and glued to the head.  I made it extra long so I could give her one long braid, which is a traditional look and often is shown draped over the shoulder.  But, probably the best part of this little rag doll are her valenkis, which are wool boots.

In traditional valenki, there is no seam.  They are made from blocked wet wool, are thick and warm, and most likely water, or at least, snow resistant.  For a tiny doll, a seam up the back is okay.  The doll's valenki are made from oatmeal colored wool with a blanket stitch up the back.  They are removable. 

About this time, things were really going south at home.  We had to put my little beloved down on Sunday, February 17th, and I literally walked in circles like a zombie for days after.  I'd finished my book, and picked up a lighter read by Jean Grainger.  I'd read The Tour, and am now reading the sequel to the Connor trilogy.  Darling stories taking place in Ireland.  I'd purchased some new fabric with an Easter outfit in mind for Dashenka, and told myself, "Just one more.  Then we can move on."  By this time, my immersion into Russian clothing styles was giving me more confidence with how to proceed.

I'd bought, on sale, this absolutely gorgeous "ashes of violets" wool coating and some prints for spring including this delicate paisley that coordinated beautifully with the coating wool.  Nadia had asked me if I was going to make Dashenka a sarafan.  I knew she meant a traditional, festival style.  Floor length, silk, highly decorative, but I wanted a simple day dress for a child.  I already had the white blouse, so making the apron would be the effort.  And, the coat.

I was mistaken thinking that the other coat's pattern would be usable.  It wasn't.  For one thing, I found this child's coat on Pinterest by a Russian seamstress, and just had to make one for my doll.  It took three agonizing tries, lots of wasted wool, and a giving up attitude that says, "Let's get the darn thing done already!"  Part of the problem was making a coat for a 13" doll out of wool suited for humans.  It is thick, which had pluses as well as minuses. 

The little sarafan for Easter is made from two pretty prints.  The geometric floral cotton of the main length is light pink and gold.  The soft floral print for the borders and straps has bits of moss green and red in it, but it all blended well for a springtime dress.  I'm calling this outfit "Easter Babushka".  Interestingly, I read a description of the term Babushka that both referred to the concept of the old woman with treats for children, but also, and simply, the scarf.  I'll have to remind myself to ask Nadia about this.  The little red suede shoes are another pair from the shoe wardrobe I commissioned for her.  I have two other pairs in this style in different colors. 

The coat is a style that combines a gathered front skirt to an empire style bodice front.  It has a Peter Pan collar, two patch pockets and three little buttons to close the front.  The big plus on this heavy felted wool is that you could just clip slits for button hole without stitch edging them.  I think this was one of the reasons I so insistently pursued using this wool.  Besides the gorgeous color.  The coat is unlined, which was another plus in construction.  It was very difficult turning under the edges for top-stitching, but I justified shoving the fabric under the needle in that I didn't have to line the coat.  Some effort had to be made.  I really love the Easter Babushka for its brighter, lighter colors and Dashenka will wear this on my shelf for awhile.  When winter finally passes, she can go without her coat and hold her little doll.

Its time to move on to another doll and another project.  I was watching the episode of Victoria last night, where her admiral retires.  He said it most aptly, "At my age you can't be afford to be sentimental about loss."  But, we are.  Try as we might to keep our heads high and show a smile to the world, loss hurts.  I really miss my boy.

Below are photos of the ashes of violet coat, and some lovely photos which inspired the small "starter" wardrobe I just finished. 

Wishing you all soft and gentle days,

Melissa 

 

With violet leather boots!

 

Paola Reina Factory

 

 

 

 

In memory of my beautiful boy who was my joy and sunshine for 9 1/2 years, Dover.

Mary Lennox's Garden Frock - From a Non-Smocking Home

Where I live, in the Sierra foothills of California, its springtime.  Well, not really, but you'd have a hard time convincing the grass, narcissus and daffodils differently.  What we really have is a lot of sunshine and boggy yards.  The perfect conditions for little green shoots to spring up.  Maybe that's the reason why I finally dug in and tackled this paper doll costume for my Mary Lennox.  I knew it would be a steep learning curve, but this was just what I needed.

January has been a roller coaster of a month for me.  I know I've never mentioned this, but my sweet dog, Dover, is finally losing his battle with lymphoma cancer after two years of chemotherapy.  Anyone who's lost a loved one to cancer knows what I'm going through.  Especially a dog lover.  So what I needed was a focus.  You see, he doesn't know he's sick, so I must always keep an upbeat attitude around him.  Trust me, it helps.  Both of us.  Reading and creating are my two escapes, and I'm doing a lot of both right now. 

As I was contemplating my next move after December, I started cleaning up my studio and noticed that I'd not shelved the book on smocking that I picked up a couple of years ago.  If you've been following this journal, you might recall that I've been putting this off for a long time.  Everyone I'd talked with about smocking, either had a smocking machine, or took a class with a piece already smocked, and ready to embroider.  There's two parts of this process, and neither is "a breeze".  But, the garden frock has been one of my favorites from Mary's paper doll book, so I sat myself down and went to work. 

I really can't say enough about this marvelous book.  Whether you're a beginner, novice or seasoned smocker, this book is so well illustrated and so well written, that even I could manage something out of it.  And, that's saying something for someone who doesn't read or follow directions well. 

 

One of things about smocking is that if you don't get the pleats done to perfection, the embroidery work is not going to "work".  My first attempt was a sloppy one.  Between each stitch is a tiny space, and this all has to be consistent to get the pleats you need to embroider on.  And, this is doll clothing, so it would not do to get a people sized iron on transfer.  You could measure out a thousand dots on a piece of paper and lay your fabric over it, then mark over the dots, but I found a better way.  Polka dot fabric.  Next time, if there is a next time, I'll buy a piece of polka dot fabric with dark dots.  But, the light red worked in a pinch.  I was pretty proud of myself after two days of stitching in these rows, but that was just the beginning of what I needed to do.  And, this was only supposed to be a trial piece.  After doing it though, after spending all that time, I wanted to see if I could make the piece work for the pinafore, which seems to be what this entire outfit was all about. 

 

I had to then teach myself the Diamond Trellis stitch, which is about three-quarters of the way through the book.  "Let's do something difficult, the first time around!"  First you have to learn the cable stitch, then the trellis, then repeat the trellis upside down to make the diamond.  Good grief.  What a lot of work for a 2 3/8" x 3" panel for a doll pinafore!  I had a Boneka smocked dress in front of me to guide me, and it was mighty humbling.  I do know one thing, learned one thing, you have to do this often, maybe all the time, to get really good at it.  And, fast.  Those Indonesian girls at Boneka really know what they're doing!

But, I succeeded in getting a reasonable facsimile of a properly smocked panel with which I could fashion a pinafore around.  I think.  No, not really.  I should have left a larger empty space on one side, but that's besides the point since I was determined to make this piece work after all the time I put into it.

 

The next part of this pinafore, which took even longer, was making embroidered trim for it.  As you know, I try my best to follow an illustration to the T.  When an artist paints a seam or a pleat, this is generally done in shades of gray and purple.  There was definitely navy lines matching the stitching on the trim.  So I had to come up with a way to make those navy lines.  I had some beautifully woven navy cotton left over from a Lettie Lane dress that I was saving, and used that for this purpose.  I measured out thin lengths of the batiste and the navy cotton and stitched them together on the machine, then ironed the two navy strips under the white - then did the navy stitching on top on the edges.  This tape would go over the tiny, narrow straps of the pinafore, tiny waist band, and two strips down the apron.  It would also have to be hand-stitched on, after the embroidered stitching was done. 

The other tape work was done for the top edging of the lace that goes along the bottom of the hem of the apron.  This required only a top band of navy, then that navy band was hemmed beneath.  24" of it, before I attached the lace by hand.  There was no pattern made for the apron, save for the strap ruffles.  I sort of just cut and pieced this thing together as I went along. 

I  suppose you might call this an heirloom pinafore, or at least it was done in heirloom stitching fashion, but it me it was like constructing the Eiffel Tower.  The very last thing I did was the pretty embroidery work that made up the "jacquard ribbon" we would be attracted to on this pinafore.  The white bands I made for it were sewn the same way as the tape, and needed to be hand sewn to the smocking as I "built" the pinafore.  So what transpired while trying to piece this thing together, was that the ladder stitching I did to sew the straps to the panel didn't seem to want to allow me the latitude to angle the straps.  With each stitch I put into those smocking pleats, the straps and pleats wouldn't coordinate.  I did this three times and called it quits.  It seems that all the smocking I did got covered up, too.  Which probably isn't a bad thing.  But, that's why the panel isn't narrower at the waist.  I was very happy to be embroidering in any other color than navy by that time, too.  Basically, the artist painted dots, and I had to make up a pleasing pattern that might resemble something other than colored dots.  I hope this isn't the one time where the illustration is nicer than the costume, but I'm my own worst critic.  Heaven  help me when I attempt to make the pink ruched dress next to it!

Oh yes.  I did make the navy floral dress somewhere in there.  I think it was after I'd completed the Diamond Trellis smocking.  In order to make the apron fit nice and be proportionate, I had to build it over the dress.  I've actually had this lovely cotton print since I first began my Mary Lennox collection.  Purely a lucky find.  Basic dress.  Long puffed sleeves and high neck.  Always fully lined.

Having sewn a small snap to close the narrow waistband ties, I worked on her gardening tools.  This little set was the inexpensive Darice gardening set of spade shovel, pitch fork and digging shovel.  I simply snipped off the long handles, shortening them for 16" doll gardening tools.  I used the Krylon Short Cuts red paint to spray the tines of forked garden tool.  For the handles, there's this neat stuff called Plasti Dip, which is a liquid plastic that most people use for exactly the purpose I did - the handles of tools.  It does come in yellow and clear, as well as black.  Its a little tricky on minis, but I'd loved the results.

Next came the basket.  I knew when I started out that I wanted to needle felt the basket.  I wasn't quite sure of the approach I was going to take, but since there was no way to find this exact basket in the size, shape and woven colors of the illustration, I'd have to make it.  Needle felting it seemed the best way to go.  I looked up basket weaving on many sites and Youtubes, and the best one I could come up with was a "round paper woven basket".  I tried a couple of different things first.  The square paper basket approach, thinking I could needle felt the roundness.  Nope.  I tried cutting wool felt sheets for this same purpose, and that wasn't going to work.  So I made it the standard round basket way of layering crosses into a star shape.  Then you weave the bands through.  Now this isn't paper, cardboard, construction paper or straw.  Its made from felted wool strips.  So it was floppy to work with. 

In order to felt this together, I shaped a styrofoam ball by pressing into it, to make the interior basket shape.  That way I had something poke into besides my finger.  I would have loved to make this out of construction paper, but finding the exact colors, etc...well, I just didn't want to take another two weeks to do this.  Is it perfect? No.  But, then you're looking at learning basket weaving as well as doing it from floppy wool strips that need to be poked, so I'm not going to complain.  I finished it yesterday and made a couple of seed packets from vintage seed packet images found on the Internet. 

I'm pleased with the overall outcome of the complete costume, but I spent three weeks making that pinafore, and I don't wish to repeat that again.  Smocking?  Only on a very "need to" basis will I do it again.  But, I learned a lot.  It was a good experience and I feel more knowledgeable about heirloom sewing as well.

My grandmother made me a smocked gingham dress when I was ten years old.  That woman could do it all!  I remember wearing it and studying the funny, chunky stitches on the front of the dress.  That dress was washed and dried and ironed many times, and the smocking looked fresh and beautiful through each wear.  How I wish she were here today to teach me all she knew. 

Love,

Melissa

 

 

 

Hetty's Holiday and a 2018 Recap

It was 1989, and Sam Elliott couldn't have appeared more rugged and handsome when he portrayed a struggling farmer living in Three Oaks, while his young daughter rescued one of Santa's reindeer - Prancer.  One of my very favorite modern Christmas movies!  Its worth watching just to see Sam Elliott come out to his newspaper box in a snow storm wearing only his long johns.  sigh  This show could melt anyone's heart, and have them believing faithfully in the magic of Christmas and Santa Claus.  Cloris Leachman was in the film playing a tragic character, too.  And, the hair styles that showed up in "church" are a time capsule in themselves.  My husband won't watch the show because he thinks its too sad.  But aside from the hardships of a struggling family, when Prancer curls up to Jessica Riggs after she falls from a tree trying to free him from the Christmas tree lot, well, its near impossible not to dab a hankie to your eyes.  Great movie. 

 

And, then of course, there's the young Sam Heughan (Jamie in Outlander), playing the prince in A Princess For Christmas (Hallmark, 2011).  I've watched my fill of Christmas shows this year.  Enjoyed every minute of it!  But, after a few days having finished The Nutcracker, I became restless.  And, there was Hetty, still in her debut dress from last January. 

I have had an oversize plastic zip bag sitting on my work table, filled with some gorgeous silks intended for dresses, for quite some time now.  Last summer I added some very pretty ones that I picked up during the UFDC convention.  One of them was this fetching pink and green plaid silk, that I was told was a "reproduction".  It wasn't cheap either.  So like some of the others, I simply saved it for the right occasion.  And there was Hetty, sitting patiently among the other dolls, and I knew she needed a treat.

I chose to work from this image of a child's dress, circa 1863, found in my go-to book, Children's Fashions 1860 - 1912, by JoAnne Olian.  It is described from the original entry as Fig. e: White bodice, belt with bretelles, for 6 -8 year old girl.  Well, as we all know from French Fashion, the children's dresses are simply mini versions, at best, from the ladies' fashions.  The thing that always amuses me, is that the "children" are even drawn like young adults.  So I got started on a new dress for Hetty.  

This was a interesting design with the two upper points to the "belt" and the one point below.  Something I'd not tried.  The bretelles are also decorative and come in two pieces attached at the shoulder point.  And, by the way, this silk is so thin and beautiful, that it was a dream to work with.  The difficulty was trying to figure out how to line the belt with bretelles, then hide how the skirt was attached.  If you haven't done this, think about it a second. 


The way this was done was by cutting off the point in the back of the lining and attaching the skirt to it.  The point in the front is lined on its own, then the front edge of the "belt" is turned under and sewn to the front of the skirt with a ladder stitch.  I'm sure it can be done differently, but this method worked for me.  Its all so very much a puzzle when designing from scratch.  The trim I used was an eyelash "picot" trim, and was applied by hand-stitching it on.  I don't think this trim is wider than 2mm, and has the most delicate little fringes on it.  Two buttons close the skirt in the back.

I had to make her a new "waist", or blouse, as well.  I never intended to redress her, so had attached the other blouse directly to the skirt of her green and blue striped gown. 

Hetty's little dolly seemed to need a new dress, too.  I also had this scrumptious pink silk in the same bag, and decided to use it to coordinate with Hetty's gown.  This little doll is one of Wendy Lawtons, and came in a yellow silk dress of the same style.  I copied the design of Wendy's little doll dress for the new one.  Its a basic pattern cut on two folds with a "boat neck" cut out.  The discovery for me was in the trimming.  Its simply a piece of six strand embroidery floss zig-zagged onto the dress.  I extended the zig-zagging down the length of the tie ends and that seemed to keep them neat.  Wendy's design was of a loose strand and near impossible to tie into a bow.  Another piece of embroidery floss goes through the neck band.  Its a happy, candy pink silk dress and makes the tiny doll stand out.

I do enjoy sewing for these 12" child Lawton dolls, so I just may have to make her a new dress each year.  Or when the spirit hits!  Merry Christmas, Hetty!


Looking back on 2018, there were definitely some pretty things made, and wonderful months of growth, both as a seamstress and needle felter.  My favorites were the polichinelle costumes, which Louise and Lawrence wore up until The Nutcracker.  I had a ball making Alice By the Sea with the Walrus and Mock Turtle.  It was a struggle, but satisfying end, to figure out, design and sew the loop soutache for the violet Alice dress (with hippo bee and Bill the lizard).  From the "squashed tomato" hat on Goldilocks, to the sculpting of the Lion and the Unicorn, its been quite a ride this year!  Below I've included a surprise needle felt I've yet to share.  The Nursery Alice White Rabbit.


Of course I have ideas for 2019.  And, I'll probably get busy with one of them shortly.  But, for the next few days, at least until New Year's Eve, I'd like to reflect a bit more, tidy up my work room again, and tuck into my new book, and simply still my mind.  Its been a gracious holiday season this year.  I hope you've had some wonderful surprises and precious moments for memories of your own.  Wishing you the very best of the New Year with good health, and joyful times.


Love,
Melissa

Bo-Peep

Polichinelles

Alice By the Sea

Mary Lennox

Gypsy!

Alice and Bill

Through the Looking Glass

Gretel

Goldi and Baby Bear

The one you didn't see: The Nursery Alice White Rabbit

A New Dress and a New Year for Hetty