As explained in the introduction, during the course of 1992, BillyBoy* realized that there was a contradiction in letting the commercial doll market represent his dolls, which were entirely hand-made from A to Z, along with other dolls, which were mostly mass-produced dolls. The incredible success and press coverage generated by Mdvanii, greatly helped by the mediatic presence of BillyBoy*, had created a demand that BillyBoy* Toys could not fulfill. Mdvanii was still hand-made, in France, which is certainly not the easiest and cheapest way to produce a doll! Everybody wanted Mdvanii, but dealers were difficult and whiny about paying the price for it. They wanted more and more dolls but wanted to keep them in unrealistically competitive prices. Competitive with what? There was nothing else, miles around, that could remotely be compared to the way Mdvanii was conceived or made. Mdvanii was NOT a commercially-made doll and there was nothing you could do about it to lower the costs. Collectors could really see that Mdvanii WAS different, but many of them did not understand why she was, to their eyes, so expensive (which she was not in fact). It is very easy to understand, though. When Mattel does “limited series” such as the “Feelin’ Groovy” Barbie by BillyBoy*, it is made in 10 000 example minimum (which is what was announced). The biggest series of Mdvanii was of 200 example, which is a fact, and each one of them was exactly made the same way that the one-of-a-kind pieces.

When the Gulf War ocurred, all the Exclusive Representative in the USA cancelled their orders, which had some very negative consequences for BillyBoy* Toys. BillyBoy* felt totally betrayed by this attitude, specially after the abnormal pressure that some of the dealers had put on him. So in 1993, BB* took the hard decision to stop dealing with the Exclusive Representatives in the USA. 

This decision had two main consequences. The first one is that the place left vacant by Mdvanii was rapidly invaded by new fashion doll products, commercially-made and very “competitively-priced”, which, for a while at least, fufilled the craving of fashion doll collectors. It took only a few years to totally saturate the market and this “craving” has greatly faded away. The second one is that many early Mdvanii collectors thought that she was discontinued and rumors even spread at some point that BillyBoy* was dead! The truth was that Mdvanii was impossible to find without making the effort for it: she was only available through BillyBoy* Toys in Paris, until 1993, when BillyBoy* and Lala decided to leave Paris and create the dolls just as artists, without the burden of a company. A chapter was closed, a new one was being opened. The production was mostly absorbed by Sumiko Watanabe (later SW Japan) in Tokyo, who is the only representative in the world to have had access to the entire doll creations of BillyBoy* and Lala. The splendid limited series as well as the one-of-a kind dolls created for her all bear the purple woven label marked BillyBoy* Toys - SW Japan Exclusive. During all these years, Sumiko Watanabe remained a faithful and enthusiastic support of the Mdvanii creations (as well as of all other BB* dolls) for which she organized many exhibitions and founded the selective Mdvanii Society Club of Japan. The club, still existing today, had its own newsletter, published every two months. It featured articles, interviews, comments, poems, a cartoon by Lala about BillyBoy*’s adventures and of course all the latest news concerning Mdvanii and her friends

The abrupt withdrawal from the US market did not affect, in the very least, BillyBoy*’s creative production of dolls. His own convictions were leading him more and more toward the total blending of his artistic creations, his painting and designing which always had been one, were now melding together in a natural way, his artistic expression was maturing, not the other way around and he also aspired to a radical change in his career. In 1993, when BillyBoy* and Lala took the decision to leave Paris and move in Trouville, a charming little sea resort near Deauville in Normandie, it was a real break. This period proved to be particularly rich creatively. BillyBoy* had already created in 1993 his Petite Fille Modèle, a fashion girl doll in the Bleuette style. She had a composition body, she had her head and hands in resin and was entirely hand-painted. Her wardrobe was stunning and in of an amazing quality. She was made in confidential quantities, less than a hundred examples of this doll exist in the world.

Amongst Mdvanii’s refined fabrics, which include real high fashion materials, some dresses for one-of-a-kind dolls used authentic fabrics from Poiret, Chanel, Patou, Dior, Balenciaga, Schiaparelli, Dufy for Poiret (given to BillyBoy* by his daughter) and authentic Bianchini-Ferier and Ducharne prints and lamé, as well as authentic Poiret embroidered fabric, authentic Fortuny velvet and pleated fabrics, fabric with original drawings by Bernard Buffet, Yves Saint Laurent (red fabric given to BillyBoy* by YSL himself).

BillyBoy* also printed his own fabrics for Mdvanii’s world, such as gold and black fabric recalling the 18th-century, as well as the BillyBoy* newspaper fabric from his Surreal Couture days which is housed in the Louvre museum’s textile department along with a great body of his early fashion work as well as the fabrics done for BB* by artist Patrick Imhof. Many other fabrics were embroidered in Paris for BillyBoy* and others in India for BillyBoy*. BillyBoy* used many rare antique fabrics from the 18th and 19th-century , notably for the wooden dolls Mademoiselle Rivière and Bénedict, authentic art deco fabrics for Zibbi, the Modern-age doll, as well as re-edition from from the famous House of Braquenié in Paris and classic LIBERTY prints.