This study is important in terms of including the dolls in folkloric dresses, which are various Turkish and world culture images collected as objects of collection, in the literature. Readers will be able to have an idea about folkloric dresses by examining the photographs of dolls from different countries and from different regions of Turkey. The current study aiming to draw attention to dolls as objects of both tourism and cultural diplomacy employed the document analysis, one of the qualitative research designs. The data sources of the study consist of 70 dolls in folkloric dresses, which were obtained from different cities in Turkey and different countries of the world. In the data sources constructed on the basis criterion sampling, the criterion is that the dolls are dressed in clothes specific to the geography in which they were made. Of the dolls, which are the data sources of the current study, 26 are from Turkey and 44 are from abroad. The dolls were examined in four categories as European geographical and cultural region, Balkan geographical and cultural region, Asian geographical and cultural region and American geographical and cultural region and coded with different namings. The results of the study give information about the dolls and the life culture of the geographical region they are obtained from. In this study, some features that distinguish these porcelain dolls from each other were found such as opening and closing eyes of the Irish doll Amy, the more childlike look of the doll Bahar despite the adult look of the doll Leyla Hanım and the facial expression of the baby named Huysuz Virjin. In this connection, with the influence of the basic art movements and fashion of the century in which they were made, some of the porcelain dolls are in adult look and some are more childlike and the main reason why the doll Huysuz Virjin is sullen can be explained by its being a character doll. When the non-porcelain world dolls are examined, it is seen that they are dressed in clothes with physiological features (eyes, skin colour, hair colour, etc.) and cultural symbols representing the ethnic identities of the nations living in that region. Dolls represent the fashion of their own history, both with hair and clothes. Head scarves worn by folkloric Turkish dolls provide important data on social status. A differently tied headscarf is also seen in the Balkan origin doll coded as Bulgar Gülü. Although this detail suggests the influence of Turkish and Muslim culture in Bulgaria, the headscarf tying style in this doll is different from the ones used by Muslim women. Beautiful examples of head ornamentation, which is the most magnificent part of the Anatolian woman’s dress, can be seen in all our dolls in local clothes. Another type of doll that requires as much hand labour as porcelain dolls in Europe is the kitre doll in Turkey. The face of the kitre doll is made of a special material which is of higher quality than plastic. In both Turkish folkloric dolls (Nevşehirli Sultan Gelin) and world dolls (Gökkuşağı Bebek and Padong Bebek), little babies are sometimes on the lap and sometimes on the back of the mother doll as the symbol of fertility.