She had many separately packaged outfits and accessories, such as an umbrella (available separately) one supposed to walk back and forth on the quai in the rain, a tennis racket, (she wore stilletto pumps even on the tennis courts) and the ultimate archetypically tacky pet, a black, white or grey poodle (by Steiff usually although mint-in tube ones have been seen which are not by Steiff...it is also interesting to know Barbie had a very similar grey poodle eventually for her “Dogs n’ Duds” set). The canine companion, for lonely night came on a leash which they took pains to illustrate in one of her catalogues. “Das Ich Bow wow wow” said the dog to the trick, at least it opens a conversation and isn’t as tacky as “You got a light?” or “Do you have the time? - Cuz, I got the place!”

There were Lilli postcards, (to mount on boards at police stations perhaps) actual photos of the then current dolls, and even a 50-page cartoon book of Beuthien’s funnies using Lilli, in actual doll form, not a drawing (wearing a popular shorts and poplin swing coat outfit called “Popelinjacket kurz mit shorts”). The cover read “Lilli, ein Bilderbuch fur SIE und IHN." Inside she romped through double-entendre (sic) adventures and wore outfits which were made available for her. The first page of the booklet had a lengthy, naughty poem about the feline fraulein:

The clothing catalogues of Lilli were really very chic, despite the inuendo of her “profession” and the nearly lewd texts in Bild Zeitung newspaper, and it is very interesting to note that these documents were entirely influenced by the trends of popular female culture and international fashion of the times. The images are quite beautifully done and in pale, fashionable colours of the era such as canary yellow, baby blue and champagne pink, very post-war Europe infact. But, the booklet had a very “international” flavour, also another acutely fashionable idea of the time since the war had been over for only a few years and culture was expanding through communication mediums such as television, radio and international magazines.

The cover illustrations which surrounded one catalogue is a photo of Lilli included amongst silhouettes of New York skyscrapers and the Eiffel tower in Paris and among zippy sportscars, and highball cocktails and martini glasses. Inside there were little drawings of cigarettes, ashtrays, “Coke”, the newly fashionable “American” drink and of course, “oh-la-la” - always right - French champagne bottles, modernistic barstools, a clock indicating that it was three in the morning, and Lilli reeling about wearing a flouncy low-cut ballgown. Obviously Lilli had a predelection for balls!

There are many photos of how the separate outfits came packaged, that is, in cellophane bags with a rectangular tag at the top to hang them in the toystore. The print for the pyjamas is noteworthy as is the print of Beuthien’s own drawings of Lilli which are similar to the catalogue. It shows a chic Lilli doll in silhouette with her fussy little poodle. There was another Beuthein cartoon, following Lilli’s success in the sixties called "Schwabinchen." She was similar to Lilli except that she had black hair. On January 5th, 1962, the last Lilli cartoon was drawn as Beuthien left Bild-Zeitung supposedly because the newspaper asked him to marry off his beloved Lilli character. Thusly, he went over to rival paper Munich AbendZeitung and did essentially a new Lilli but with black hair.This might explain, one would think, why some Lillis have black hair in the same style as "Schwabinchen." Yet actually,...it was due to the fact he could not do Lilli exactly as before, so as of early 1962 his new incarnation of the Lilli spirit was created by the talented cartoonist.....and she had long black hair. Manufactured by the same company which made the Lilli clothes and designed, supposedly based on Beuthein's cartoon, but obviously not designed by him, as the "Schwabinchen" doll looked very different from the cartoon character yielding her name. She was marked with the Drei-M's (MMM) and not made by the Hausser company like the Bild Lilli, but by the company which made the clothes originally for Lilli. She had many different colours for hair besides the cartoon's black (this hair was poorly rooted by the factory, leaving the line showing on the scalp where it was designated to be rooted, these are not defective dolls, they were made that way), and had a large wardrobe of clothes (roughly 40 different outfits) and accessories available, like Lilli. There were vinyl cases in nifty red with a window to see the doll, sports equipment, jewelery and, a nice detail, her shoes had a little flower, like Lilli's one on her earrings, on the front. She even was made in Holland under another name, "Willy Wildesbras", and also in other countries such as Sweden where she was called simply "Betty". They were made in much less quantities than even Bild Lilli doll. They were made between 1962 until about 1964. With snap on limbs (not strung like Lilli) and smaller hips, the doll's body was about 10 and a half inches long. Her big head, huge amount of hair, odd proportions and strange facial make-up makes her a bizarre yet fascinating character of that era for dolls. The fingers on the dolls were separated, a bit like Spanish flamenco dolls. The clothes, sold in cardboard boxes, had Prym snaps, but they did not fit Bild Lilli doll as they'd be too short and narrow and there was even a variation of this famous Prym doll clothing snap, instead of heart-shaped curls, had dots on the lower buttons....but nonetheless, these clothes which were sometimes based on Lilli's clothes patterns, were shortened and are hard to identify out-of-box. Beuthien would go on to do another Lilli-like cartoon, Gigi for the star Revue and Revue in Germany,... who was the raciest cartoon of all! No more inuendoe, but out right sex jokes! The cartoonist's last drawing was of Schwabinchen under the Christmas tree and he passed away on December 28th, 1970.

And now for the real low-down dirt on Lilli doll:

Some people even feel that Lilli was an outright “hooker”. In an Internet article in writting about Barbie’s sercet origins, the author makes some interesting remarks:

“Easily overlooked by anyone who didn't understand Barbie's history, Lilli was dressed like a prostitute who didn't want to be noticed -- lost among the other non-Barbie dolls who were provided for educational purposes. It seems fitting that Lilli dolls were manufactured in Hamburg, a city where government-approved, licensed prostitutes are a fact of life. In the United States, where legal hooking is virtually unheard of, Lilli had to tone down her act. (Perhaps she changed her name in order to get around a U.S. immigration law barring prostitutes from becoming residents -- but that is just conjecture.) While it is still unsafe for a foreign prostitute to reveal her trade in the United States, Barbie -- decades later -- is no longer foreign. She is more American than many Americans, and perhaps even more hypocritical.“