Barbie was invented in 1959, so we got to pick the best of everything in the Barbie iconography from 1959 to now, but at base, we kind of had this idea of a 1959 aesthetic. The painted sky - that’s not the sky, but it’s real. “Authentically artificial” was the phrase that we came up with. It’s a soundstage world. It’s painted skies. What was the thinking behind the very specific, very retro-Hollywood look of Barbieland? What other possible journey could we have done for this icon? So it felt like, of course, this has to be the journey. And that’s the opposite of how we think of Barbie. It’s ever-changing and decaying and becoming beautiful in its falling apart. Because it’s the antithesis of something that’s frozen. And another thing felt like, well, it’s Barbie, who’s the queen of plastic! What better thing could we do then give her a real life? That would have to be the thing. It’s in a lot of religious literature. What happens to that person? they have to leave, and they have to confront all the things that were shielded from them in this place. I started from this idea of Barbieland, this place with no death, no aging, no decay, no pain, no shame. I hope two things made that journey feel surprising but inevitable. How core to this whole project was the idea that Barbie would want to take a journey where she could become human? ‘Barbenheimer’ Asks: Who Ruin the World? Men.
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