Distinguished Japanese gallerist and curator living in Tokyo, Sumiko Watanabe has played a pivotal role in introducing and promoting the Mdvanii doll to the Japanese audience.

Sumiko Watanabe and BillyBoy* met around 1979, forming an immediate and lasting professional and artistic partnership, as well as a profound friendship. As an influential art and fashion doll expert and curator, Ms Watanabe recognised BillyBoy*’s visionary talent, not only in art but also in haute couture and historic fashion dolls. She became his exclusive representative in Japan, organising exhibitions that introduced his work to a Japanese audience.

Over the course of more than three and a half decades, she has showcased his work through annual exhibitions, sometimes up to several times a year. She has enjoyed considerable success in representing the various mediums BillyBoy* works explored with his life partner, Jean-Pierre Lestrade (a.k.a Lala).

In 1983, when BillyBoy* met Jean-Pierre Lestrade (Lala), the creative duo expanded their artistic endeavours, from successful jewellery named Surreal Bijoux, to the making of Mdvanii and other fashion doll artworks. Ms Watanabe was instrumental in presenting their Mdvanii creations in museums and galleries across Japan. Her unwavering support and dedication helped cement BillyBoy* and Lala’s significant influence in both the art and fashion doll worlds. Over the decades, their collaboration flourished, built on mutual trust, artistic passion, and a shared commitment to innovation.Ms Watanabe has successfully sold their works to museums and important art collectors across the globe. The internet features countless references to the exhibitions she curated for BillyBoy* and for him and Jean-Pierre Lestrade, spanning over these decades, including mentions on Wikipedia: https://en.wikipedia.org/wiki/Mdvanii.

Launched on Valentine’s Day 1989 at Liberty’s in London, Mdvanii was the world’s first anatomically correct fashion doll designed for adults. Beyond its physical form, Mdvanii embodied a sophisticated, post-feminist persona, often adorned in haute couture outfits meticulously crafted in France. These dolls were not merely collectibles but were presented as art pieces, reflecting deep narratives and cultural commentaries. 

Through Sumiko Watanabe’s dedicated efforts, the Japanese public was introduced to these groundbreaking creations. Her curated exhibitions not only highlighted the artistic and cultural significance of the Mdvanii dolls but also underscored the collaborative osmosis of BillyBoy* and Lala. Over the years, these exhibitions have achieved mythical status among collectors, cementing their place in the annals of art and fashion history.

Sumiko Watanabe’s website, “女神たちの肖像 – ミドヴァニィ・コレクション” (Portraits of Goddesses – The Mdvanii Collection), is dedicated to showcasing the art and life of BillyBoy* and his partner, Lala. Sumiko introduces herself as the exclusive representative of the Mdvanii dolls, sharing her experiences and memories of working with these “goddesses of beauty,” adding a personal touch to their artistic journey. The site offers insights into their creative evolution, particularly focusing on their groundbreaking work with Mdvanii art dolls.

Key Highlights from the SW Japan Website

Exhibition at ART BASEL (2019)

BillyBoy* and Lala participated in FRAME Art Fair 2018 ( http://sumiko-watanabe.seesaa.net/upload/detail/image/FRAME20art20basel202.jpg.html) and 2019, held during ART BASEL in Switzerland. The 2019 exhibition, titled “Jungle Red Mister Modern Interior,”* introduced a new expression of Mdvaniiism. The installation showcased artworks from various periods, unified by a striking red theme. The collection featured sculptures, crafts, silkscreen prints, and photographs, each meticulously painted in shades of red. BillyBoy* remarked, “Red is perfect now. It signifies warning, vitality, revolution, the red carpet, and the basic color of lipstick.” Lala added, “Red reminds us that life is short and precious.”

The website features images from this exhibition, highlighting key pieces such as silkscreen prints of Mdvanii and Rhogit-Rhogit, a human-sized Mdvanii pearl necklace with an oversized Mdvanii gold tag held by an Art Deco archer sculpture, and an ensemble titled “Fetch Me My Pearls.” Also included is a wooden sculpture inspired by the Hopi tribe’s Kachina dolls.

BillyBoy & Lala’s Artistic Creations*

BillyBoy* & Lala have an extensive and diverse body of work spanning various artistic mediums, including jewelry design, photography, installations, and retro-futuristic artefacts. Below is an overview of some of their most notable creations:

Surreal Bijoux (1983)

In 1979, BillyBoy* began designing unique pieces of costume jewellery in association with his alternative couture house, titled “Surreal Couture”, which he launched in his art deco-filled apartment in New York City in the mid-1970s. BillyBoy* revisited this creative practice while in Paris and started producing jewellery, this time with his newly found life partner and creative companion, Jean Pierre Lestrade “Lala”. In 1984, the duo opened the ‘Surreal Bijoux’ workshop and showroom in Paris, in an effort to “usher in a new era in costume jewellery”.

minniemuse.com

Their creations garnered significant attention in the fashion world, known for their bold and avant-garde aesthetics. The designs attracted a clientele of celebrities and fashion enthusiasts. These pieces were featured in major fashion magazines and sold in prestigious stores such as Henri Bendel, Bloomingdale’s, I. Magnin, Sak’s Fifth Avenue, Lou Latimore in Dallas, Jansen, Le Printemps, Utility Bibi, and Galeries Lafayette in Paris.

Mdvanii (1989)

After his innovations for Mattel’s Barbie doll line, BillyBoy* invented Mdvanii which took two and a half years to perfect. Mdvanii is recognized as the first anatomically-correct fashion doll designed for adults. She embodies a sophisticated, post-feminist persona and is often dressed in haute couture outfits crafted with meticulous detail, entirely made in France in the artists’ workrooms as well as working with the most prestigious artisans of the Paris haute couture métier. Mdvanii has been the centerpiece of numerous museum shows and art exhibitions and has evolved into various collections, including the “Intro Spectrum” collection presented in Tokyo in 2000.

The SW Japan Exclusives include one-of-a-kind pieces and limited series, typically 25 pieces each. Some of the most sought-after exclusives include “Studio Harcourt”, “Ailes d’Hermès,” “Via Veneto,” “Chocolat et Framboise,” “Groovy Chick,”, “L’Officiel”, to name just a few. Sumiko Watanabe has represented all members of the Mdvanii family (or tribe) created by BillyBoy* & Lala, but also the non related doll creations, from 1992 and on.

• Resin Mdvanii series: Mdvanii, Dheei, Soraya, Edie, Rhogit-Rhogit, Zhdrick, Tiimky. Black and Indian versions of Mdvanii who according to BillyBoy* exist in alternate universes amongst the multiverse.
• Porcelain Mdvanii series, including: Mdvanii, Dheei, Soraya, Edie, Rhogit-Rhogit, Zhdrick, Tiimky, Tzulli, Muio-Bix, Ishwar, Jobii, Yucef.
• La Petite Fille Modèle and her baby brother Gaspard – 1992
• Mademoiselle Rivière (Poupée Merveilleuse) and Benedict (Poupée Incroyable), 1994.
• Zibbi, Zabba, the Afro-European friend to Zibbi, both called “The Modern Age Doll“, 1995.
• Mademoiselle Mdvanii, a 70 cm porcelain version, each one-of-a-kind, 1998.
• One-of-a-kind sculptures such as Mdvanii “Space Geisha” and others.

BillyBoy’s Drawings*

Sumiko Watanabe also represented exclusive BillyBoy drawings*, including:

• “In-Sex – Portraits of Women” – A series exploring femininity and beauty, reflecting BillyBoy*’s distinctive style with elements of fashion and surrealism.
• Male Nude Drawings – Sexuality-explicit works that explore masculinity and sensuality, demonstrating BillyBoy*’s artistic range and willingness to delve into diverse and provocative subjects.

Space Geisha

日本列島、8月に入ってから記録的な猛暑が続いている。生命の危機を感じさせる程の暑さだ。

日本列島、8月に入ってから記録的な猛暑が続いている。生命の危機を感じさせる程の暑さだ。

そんな夜、見ているだけで涼やかな気分になれるのが、今回紹介するミドヴァニィ「スペース・ゲイシャ」Mdvanii “Space Geisha” である。

そんな夜、見ているだけで涼やかな気分になれるのが、今回紹介するミドヴァニィ「スペース・ゲイシャ」Mdvanii “Space Geisha” である。

フランスの名窯として名高いセーブル窯で焼成されたポーセレン（磁器）製のミドヴァニィ Mdvanii だ。2000年制作。
パープルからブルーへグラデーションをかけて染めた毛糸を使用した凝ったマーメイドラインのドレスは、膝下から、まるでイカの足のように何本もの編んだ毛糸の房によって広げられている。ウエストには、19世紀の金色のリボンを利用した帯のように太いサッシュベルトがつけられ、スキャパレッリのショッキングピンクのファブリックから作られた奇妙なケープ。
髪型はドレスと同じ毛糸で出来ていて、小さなパールが飾られている。
メーキャップは、ゴールドと紫陽花色のアイシャドーに、濃いバイオレットの口紅。
そして、写真では良く見えないかもしれないが、まるで花魁の高下駄のような非常に厚底のブルーのフラット・シューズを履いている。多分、ビリーボーイは、16世紀イタリアの高級娼婦が履いていた「ゾッコリ」と呼ばれる超厚底の履物からヒントを得たのだと思う。
彼女は、スイス・アルプスの麓から持ってきたという大きな石の上に、火星の石のような小石と一緒に立っている。

何故、彼女が「ゲイシャ Geisha 」なのかよく分からないが、多分、「ゲイシャ Geisha 」という言葉が当時、ヨーロッパの若者の間で、流行っていて、それが「クール」とか「オシャレ」というイメージに繋がるからであろう。
単に「ゲイシャ Geisha 」ではなく、その前に「スペース Space 」をつけたところが味噌だ。そのせいか、全体に宇宙的な神秘と郷愁を感じさせる。

それで、有名写真家の野口博氏（フラワーズ）に、宇宙的なイメージが伝わるようにお願いし、撮ってもらったのが、この写真だ。

彼女の故郷はどの星なのだろうか？
寝苦しい残暑の夜、宇宙へ思いをはせてみたい。

“Since August, Japan has been experiencing record-breaking heat waves. The intensity of the heat feels almost life-threatening.

On such nights, just looking at this particular Mdvanii, Space Geisha, brings a refreshing and cooling sensation.

This Mdvanii is made of porcelain, fired at the renowned Sèvres manufactory in France. Created in the year 2000, she wears an intricately designed mermaid-line dress made from hand-dyed cotton yarn tassle transitioning from purple to blue. Below the knees, the dress flares out with numerous strands of braided yarn, resembling octopus tentacles, octopi being a particularly favoured animal by the artists. A wide sash belt, reminiscent of an obi, is wrapped around her waist, crafted from a 19th-century golden ribbon. Over her shoulders, she wears an unusual cape/stole made from a hosiery bag made for travelling by Schiaparelli in the 1940s.

Her hairstyle is created from the same yarn as the dress, adorned with small pearls. Her makeup features gold and coloured eyeshadow, complemented by deep violet lipstick. Though it may not be visible in the photographs, she wears extremely thick-soled blue flat shoes, reminiscent of the towering koma-geta (high clogs) worn by oiran (high-ranking courtesans). BillyBoy* was likely inspired by the zoccoli, the ultra-platform footwear worn by 16th-century Italian courtesans.

She stands atop a large rock, which BillyBoy* brought from the foothills of the Swiss Alps, surrounded by smaller stones resembling Martian rocks.

Why is she called Geisha? The exact reason is unclear, but at the time, the word Geisha was trendy among young people in Europe, often associated with being “cool” or “fashionable.” However, instead of simply calling her Geisha, BillyBoy* added Space in front of it, which gives the name its unique twist. Perhaps because of this, she exudes an otherworldly aura, evoking both cosmic mystery and nostalgia.

For this piece, renowned photographer Hiroshi Noguchi (FLOWERS) was asked to capture an image that conveys a cosmic atmosphere. The result is this striking photograph.

Which planet does she call home? On a restless summer night, one might find themselves dreaming of the vast universe.” – Sumiko Watanabe

SW Japan Newsletter

As the exclusive representative of Mdvanii in Japan, Sumiko Watanabe published the SW Japan Newsletter, featuring exclusive content from both BillyBoy* and Lala. For many years, this newsletter provided collectors with in-depth information about SW Japan Exclusives and limited series, while also covering the artists’ parallel works. It included texts written by BillyBoy* and cartoon illustrations by Lala, offering rare insights into their creative processes and artistic philosophy. The newsletters served as an essential bridge between the artists and their Japanese audience, documenting their artistic journey.

Legacy and Impact

These creations and publications underscore the dynamic and multifaceted nature of BillyBoy* and Lala’s artistic endeavours, reflecting their profound contributions to art, fashion, and culture.

BillyBoy* and Lala express their deepest gratitude to Sumiko Watanabe for her unwavering dedication, professionalism, and fidelity in representing their work. Her trust and commitment have been instrumental in bringing their artistic vision to life in Japan, creating a lasting legacy through exhibitions, publications, and exclusive collections. This collaboration stands as a unique and unparalleled partnership in their careers, built on mutual respect, artistic passion, and a shared belief in the power of creativity. Furthermore, the Japanese audience, with its refined and sophisticated culture, has been exceptionally receptive to the artistry of Mdvanii. This deep appreciation has, in turn, been a constant source of inspiration and stimulation for the artists, reinforcing the profound artistic exchange that has flourished through Sumiko Watanabe’s invaluable efforts.

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BillyBoy* & Lala at the POPA , Porrentruy Switzerland

May- June 2024

MDVANIIISMES – Stages of a Journey – 1975 – 2024

The Artist as Mystery

The artist is by nature a mystery, starting with himself. His surroundings, even his closest friends, only know his work in fragments. His own family barely shows interest—or only from a distance—which is perfectly normal and often preferable. To the general public, art is usually just a distraction, somewhat foreign, even intimidating.

But the public that makes the effort to attend an exhibition is composed of individuals, all of whom have the capacity to be moved, to be surprised, even to reflect without realizing it. The artist becomes the vessel of poetry and meaning, transmitting vital energy through his creation. That is often enough: one doesn’t need to know the creator to appreciate the creation, and, anyway, the artist isn’t supposed to be likeable. He’s not there to entertain—unless he’s Salvador Dali, an unsurpassed master of theatricality. When I was a teenager, I had a huge poster of him above my bed. “Beware, talent is prestigious,” said Georges Braque, who was the very embodiment of discretion. He was not a Surrealist!

A Meeting, A Destiny

When it comes to an artist couple, things become even more complex. Living together is already an adventure, but creating together for more than forty years borders on the unimaginable. This longevity, which might suggest a kind of osmosis, is simply unexplainable. An artist alone often struggles to talk about his own work, so how could two artists speak in unison? Even in cycling, the tandem is an anachronistic invention—very Belle Époque. If both pedal, only one steers. What matters above all is being together. Complementarity is what guides you.

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Origins of a Journey

The exhibition MDVANIIISMES is thus the story of a journey that began in 1975. BillyBoy (the asterisk was not part of his signature then) was 15, Jean-Pierre Lestrade, aka Lala, was 21. One lived in New York, the other in Paris. They would meet six years later and never part again.

It was in Paris that we met and sealed our fate. Billy was 22, and I was about to turn 28. During the entire evening at a friend’s place—who had insisted we meet—he barely said a word. I didn’t find him particularly communicative. In fact, he had just arrived from New York the day before and was jet-lagged, sleeping behind his dark sunglasses…From time to time, he’d nod or give a faint smile, which made him come across as a snob. Two days later, I came back. I rang the bell, walked in: he was there, at the top of the stairs, without his sunglasses, in pyjamas, music blasting. I remember very well, it was an album of the US 1960s band The Ventures. We looked at each other. “Cut!” That was the take.

I believe in love at first sight the way I believe in miracles. They’re rare—but to deny their existence is to admit one has never known either. “Falling” in love—what a phrase. We fall on the battlefield, meaning we die. To fall in love is to be reborn. It is a state of grace that endures, a kind of altered state that rises above reason and logic. In a single instant, one can make a decision that changes the course of a life. That’s what I did. I dropped everything I was doing on my own, at least on the appearance. No one around me understood. To paraphrase the slogan of Yves Saint Laurent’s Opium perfume, I immersed myself, heart and soul, in the world of Billy Boy. Dazed and enchanted, we were two soulmates finally meeting after a long, erratic journey through space. Without needing to plan or define it, we instinctively began shaping a life that was to be, by nature, creative—one that would unfold into what now appears as a continuum of prolific shared accomplishments.

Shortly after, Billy painted our portraits in oils—his and mine—which he titled Portrait of Lala as a Guardian Angel. As for me, I began turning him into a cartoon character, because absolutely everything he said or expressed—even his despair—could be transformed into a humorous drawing. To fall in love is not only to be enthralled by the other, but also to be dazzled by one’s own fascination.

Billy Boy was the visionary spark, and I became the hand that brought his visions to life. Our bond was alchemical—one ignited, the other materialized. Billy Boy imagined entire worlds; my role was to help give them form, structure, and rhythm. Together, we made the abstract tangible. As BillyBoy* once said, ‘In BillyBoy* & Lala, I am the genius, Lala has the talent”. A statement that might seem bold, but one that perfectly captures the essence of our complementarity.

The Birth of Mdvaniiism

The title MDVANIIISMES comes from Mdvanii (pronounced Mid-va-ni)—the fashion doll, entirely conceived by BillyBoy* (by then, the asterisk had become part of his name), but created together with me. Yes, it was a stroke of genius. It was never conceived as a toy for children but rather meant for adults: it took everyone by surprise.

Mdvanii is a simulacrum of a toy, using all the languages of art. Define as a “scultpure with a Lifestyle”, she has always been “thought with the hands,” the very antithesis of a commercial object. It is therefore a revolutionary doll, necessarily revolutionary, to paraphrase French author Marguerite Duras.

As if by coincidence, it entered the world in 1989, the year of the French Revolution’s bicentenary. Mdvaniiism is its expressive extension. La Maison Mdvanii is an open house – it welcomes collaborations, sometimes incorporating the works of other artists, whether to scale or not.

The works in this exhibition are so diverse that one could imagine them created by artists with no relation to one another: poems, writings, collages, drawings, paintings, dolls, sculptures… abstraction, constructivism, surrealism, pop art, post-apocalypse, parody, simulacrum—what, then, is the Ariane’s thread that links them?

Art as Exploration

These shared and individual works express, each in their own way, a desire for art to move beyond itself, beyond conventions, beyond classification. And this inevitably leads us to the eternal question of the artist’s role and place in society. The artist’s status is both underestimated and overrated—so let them deal with the paradox!

The creations of an artist challenge the established order and preconceived ideas. Yet the artist is not an activist, because he always doubts. As French philosopher Jacques Rancière said: “Revolutionary artists no longer wanted to create works of art, but forms of collective life—and even today, performances and installations in contemporary art stand on the blurry frontier between art and Politics.”(1)

This blurry frontier is perhaps precisely what defines contemporary art. It is in constant flux, in tandem with communication media—today more than ever. Even in his own world, the artist does not live in a bubble. Art is political.

In art, every medium, every material is valid. For some of us, recycling is essential. It offers endless possibilities for DIY invention. There’s always another way to say things. Of course, one can create with everything or nothing—but a work of art, however subjective it may be, remains a cultural artifact. There’s much to say about that. The -isms of Western art history are there to remind us of the stages of its evolution. Today, I may be inspired by a pile of stones or scraps of iron picked up along the road. A rusted metal sheet succeeds in being abstract without human intervention and speaks to me as much as a Twombly canvas.

The artist may, if he chooses, affix his stamp: THIS IS A WORK OF ART. If he says so, then it is. As Georges Braque said—again—”With age, life becomes art.” (2)

So what can we say about a doll that lends itself to all scaffolding and constructions of the mind—to the point of having its own -ism?

Jean-Pierre Lestrade
May 1, 2024

1 – Le Temps, Nidal Taibi, 7 octobre 2023.
2 – Le Jour et la Nuit – Cahiers de Georges Braque 1917-1952 – Gallimard nrf

The Mdvaniiismes exhibition catalogue presents BillyBoy* and Lala’s artistic journey, spanning from 1975 to 2024 and explores the complexities of artistic identity, creation as a duo, and the evolving role of art in society. Their Mdvanii project serves as a vehicle for artistic and conceptual transformation. The text, written by Lala, reflects on the influence of movements like Dada and Surrealism, Salvador Dalí’s critique of modern art, and the impact of technology on artistic practices. It argues that art is limitless in form and material, constantly reinventing itself. Ultimately, Mdvanii embodies this evolution, symbolising art’s ability to break boundaries and redefine itself.

THE DOLL AS A LINK BETWEEN FASHION, ART AND CULTURE

200 years of History, Culture, Society and Fashion Dolls

The project of this exhibition is to show, through a vast and exceptional collection of fashion dolls, haute couture garments and contemporary art, the interactions between fashion dolls and their times, all worlds which are rarely curated together.

What is exactly a fashion doll? This impressive collection gathered during more than fifty years by BillyBoy* will feature dolls ranging from the mid 19^th-century until today, with relevant pieces of haute couture and associated representations of decorative art, design and contemporary art. The exhibition can include key iconic human-scale haute couture fashions such as YSL Mondrian dresses, Dior New Look, classic Chanel, Space Age Cardin and eccentric innovator Schiaparelli.

Who is BillyBoy*?

BillyBoy* is a contemporary artist who has been a doll collector since his childhood and as a teenager he created many Barbie doll prototypes in New York and also founded the first club for collectors of fashion dolls.

He is also an acclaimed an haute couture collector and renowned expert, a historian and author of many books and articles of the subjects of historic and contemporary fashion, design and dolls. He is also a multi-facetted artist and forms an artistic duo with his partner Jean-Pierre Lestrade a.k.a Lala. BillyBoy* and Jean Pierre Lestrade, a.k.a Lala met in Paris in 1982. Lala was a songwriter, a performer and artist. They have been partners in life and creativity ever since. They have been living in Switzerland since 1997. Though each one of them has his own personal artistic expression, they have officially signed as BillyBoy* & Lala the artworks they create together since 2000.

A few significant dates:

In 1982, BillyBoy* started asking French, British, German, Italian and Japanese couturiers, designers and artists to dress the Barbie and other dolls and named the resulting exhibition The BillyBoy* New Theater of Fashion. This was already after having started in the early 1970s with an already established collection.

This exhibition sponsored by Mattel toured France in the TGV train and later on the USA with an overwhelming success and raving media coverage. It was at this time that Andy Warhol created his very last portrait, one of BillyBoy* as a doll. It now is considered an iconic painting, especially as it was painted in “BillyBoy* Blue” a colour named after BillyBoy* by the artist which now is a Pantone colour reference.

Dolls created by BillyBoy*

From 1989, all doll creations were made with Lala.

• Childhood dolls
• 1975-1984: Barbie prototypes
• 1985: Barbie Nouveau Théatre de la Mode, Mattel France.
• 1987: “Feelin’ Groovy” Barbie, Mattel USA.
• 1989: Mdvanii
• 1992: Dheei, Soraya.
• 1992: Rhogit-Rhogit, Zhdrick, Tiimky.
• 1992: Edie, Tzulli 1992, Ouimi.
• 1992: La Petite Fille Modèle, Caspard.
• 1994: Mademoiselle Rivière,Poupée Merveilleuse et Benedict l’Incroyable.
• 1995: Zibbi, The Modern Age Doll (also Zabba)
• 1996: Mdvanii Porcelain (with other caracters)
• 1997: Porcelain Teenage dolls: Muio Bix, Jobii, Ishwar, Yusef.
• 1998: Mademoiselle Mdvanii (Porcelain, 70 cm).

Childhood Dolls

Billy Boy – A Young Man in Manhattan¹

1. The spelling of Billy Boy is respected as is until circa 1983 when it was written BillyBoy* ↩︎

A Fashion Doll as Art

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MDVANIIISMS – POPA PORRENTRUY CH 2024

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Five BillyBoy* & Lala 2024 MDVANIIISMS Artworks

Shown for the first time at the POPA Museum in Porrentruy, Jura Switzerland in the retrospective exhibition named MDVANIIISMS, these five artworks combine 1960s and 1970s fashion and pop culture iconography with childhood’s wood blocks. They refer to a poem BillyBoy* wrote as a child on on American typewriter.