ARNHEM.- An exceptionally well-documented ensemble of fashion dolls – various original Barbies, one of which still has its box and price sticker from De Bijenkorf, a Bild Lilli doll and two Petra von Plasty dolls (two contemporaries of Barbie) – has recently been donated to the Netherlands Open Air Museum. The collection is notable for its wealth of handmade clothing, accessories, furniture and documentation, offering a unique glimpse into fashion culture, craft practices and family life in the 1960s and 1970s.

Endless variation

What makes this collection exceptional is the extensive wardrobe of handmade garments crafted by Geertruida de Groot-Weelink (1922-1974), a professional seamstress, and her daughters Jenny and Emmy de Groot. Rather than building a growing collection of factory-produced Barbies and Barbie outfits, the family chose a creative approach: endlessly experimenting with fabrics, patterns and styles inspired by contemporary fashion.

Barbie house

In their attic, there was a self-built Barbie house made of stacked wooden crates. There, the two sisters and a neighbour girl acted out elaborate stories with the Barbie dolls. After the family moved house, the play space – and the neighbour – were no longer part of their daily lives, but the making of clothes continued for some time. For Emmy de Groot, who continued to make Barbie clothes until she was fourteen, making miniature fashion outfits became a creative refuge during her high school years.

Emmy de Groot: “Most Barbie collections consist of dolls. In our case, the doll family remained small but the wardrobe grew all the time. We made New Look dresses, op-art sets, knitted suits, babydolls, maternity outfits, prom dresses, sportswear and even ski pants, which were very trendy at the time. We translated everything that was in fashion into miniature. We recycled old tights, toddler dresses, shirts and even facecloths. It always made me happy to make something for the Barbies.”

Fashion history in miniature

The collection accurately reflects fashion developments from the late 1950s to the late 1960s. Style influences range from Christian Dior’s ‘New Look’ silhouettes to graphic op-art motifs and the emergence of hotpants and knitted ensembles. The collection also reflects broader social changes, such as the introduction of maternity wear in fashion. The handmade miniature furniture and home accessories – including a fashionable wicker bread basket for baguettes – show how interior design trends also made their way into the children’s play world.

Fabric scraps

The use of original fabric remnants from the professional work of Geertruida de Groot-Weelink is particularly noteworthy. As a seamstress, she had access to high-quality materials from customer orders. Remnants of luxury fabrics were stored and reused for doll clothing. Recycled materials were also used: old children’s socks became Barbie tops, a watch buckle became a belt buckle, matchboxes and iron wire became construction materials. This practice ties in with the frugality and creativity that were characteristic of the post-war period.

Documented and preserved

The donation is very well documented. As well as the dolls, clothing and accessories, the ensemble also includes Barbie clothing patterns and photos of family members wearing clothes made of the same fabrics and sometimes in the same model as the dolls. Emmy de Groot, herself a textile restorer, has carefully sorted, preserved and described the collection. The Barbie clothes are in excellent condition.

International Barbie Day

On 9 March 1959, the Barbie doll was introduced at the New York Toy Fair. Barbie’s appearance was inspired by the Bild Lilli fashion doll. Lilli appeared in a comic strip in the German newspaper Bild Zeitung. The American company Mattel, founded by Ruth and Elliot Handler, bought the rights to this doll and christened her ‘Barbie’, named after Ruth & Elliot’s daughter: Barbara Millicent.

International Barbie Day is therefore celebrated on 9 March. Although several museums have Barbie dolls in their collections – usually with their original factory-made clothing and accessories – this ensemble stands out for its emphasis on DIY culture and family history. It shows how major international fashion trends were reflected in a Dutch family, translated into miniature and enriched with personal memories.