A fine bone china figurine may appear effortlessly graceful, yet its creation is anything but simple. Every flowing fold, delicate hand and perfectly poised expression is the result of numerous specialist stages, from sculpting and mould-making to glazing, painting and repeated firing.

At English Ladies Co, this exacting process is central to the beauty and character of our figurines. Each design begins as a collection of individually modelled components, brought together with meticulous care to create one harmonious finished piece.

The Finest Details

Even a Tiny Slipper Has Its Own Story

Consider the tiny slipper once created for our Princess Aurora figurine. Barely visible beneath her sweeping skirt, it may seem like a minor detail. In reality, this miniature shoe required its own carefully formed mould and received the same attention as the grand, lustrous gown above it.

The slipper began as a separate piece of fine bone china, shaped to achieve the correct proportions and capture the elegance of a true princess. It is this devotion to details—whether immediately visible or quietly concealed—that gives a collectible figurine its depth, refinement and personality.

Princess Aurora is shown as an archival example and is no longer available.

Stage One

Creating the Bespoke Plaster Moulds

The making of a bone china figurine begins long before any colour or gold decoration is applied. First, bespoke moulds are produced for the individual elements of the design. A single English Ladies figurine can require around ten separate moulds, while each mould itself may contain multiple sections to reproduce the modelling accurately.

These moulds are formed from hard-wearing, porous plaster of Paris. Once the sculpted detail has been perfected, liquid clay—known as slip—is poured into them. The plaster gradually draws moisture from the slip, allowing a layer of clay to form against the detailed inner surface.

When the clay has reached precisely the right consistency, each delicate component is removed. Timing and touch are essential: at this stage, the unfired bone china is fragile and must be handled with exceptional care.

Stage Two

Assembling the Figurine by Hand

Although photographs sometimes show the components separately, the clay pieces are normally assembled while still wet. Skilled hands carefully join the figure, gown, arms and smallest embellishments, refining every seam so the individual elements appear as one continuous sculpture.

Assembling the components at this stage also allows them to shrink together during the first firing. This helps maintain the intended proportions and protects the balance of the overall design. It is a quiet, painstaking stage in which technical knowledge and an artist’s eye work side by side.

Stage Three

Hand Glazing for Strength and Radiance

Following its initial firing, each figurine is hand dipped in glaze. The coating must reach every part of the piece: from delicate fingertips and tiny accessories to the deepest channels between the folds of a gown.

This requires considerable skill. Too little glaze may leave areas unprotected, while too much could soften or obscure the finely sculpted detail. The artisan must achieve a perfectly controlled coating across a form filled with curves, recesses and intricate surfaces.

During firing, the glaze becomes a smooth, glass-like layer. It protects the surface, enhances the strength of the figurine and creates the luminous finish associated with fine bone china.

Stages Four & Five

Fired Up to Seven Times, Painted Layer by Layer

An English Ladies bone china figurine may enter the kiln up to seven times. The journey includes the initial biscuit firing and the second glost firing, followed by further lower-temperature firings as colour and special decorative details are added.

Our painters build colour gradually in fine layers, creating the soft transitions, depth and delicate shading that bring each lady to life. Painting onto bone china requires an expert understanding of how pigments respond inside the kiln, because the appearance before firing may differ from the colour that emerges afterwards.

Between applications, the figurine is returned to the kiln to permanently fuse the decoration to the glazed surface. This sequence cannot be rushed. Each stage contributes to the richness and permanence of the final colour.

The Finishing Touch

Lustre, Decorative Detail and Real Gold

Once the colour work is complete, the most luxurious finishing details can be applied. Lustre, lithographic decoration and real gold accents are added towards the end of the process and fired at lower temperatures, helping to preserve their distinctive appearance.

On Princess Aurora, touches of gold provided the final note of majesty. After one last firing, the once-fragile collection of clay components emerged as a radiant and enduring figurine—ready to be displayed, treasured and admired.

From a tiny hidden slipper to the sweeping movement of a gown, every element tells the story of its making. That is the true distinction of an English Ladies figurine: beauty created not through one grand gesture, but through hundreds of thoughtful decisions and many hours of skilled craftsmanship.

The Bone China Journey at a Glance