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With such amazing sets and costumes how did you bring Barbie and friends to life with makeup and hair?
Ivana Primorac: The collaboration between production design, costume design, and hair and makeup was the crucial element in how to unlock the key to the look of the film. We influenced one another, but we also had to create a world that the viewer would believe in, and everything had to match and complement one another. We set some important rules that we followed and the world began to emerge. For example, the scale was very important; Barbie’s car and house are always a little too small for her, her hair is always gloriously beautiful and somehow wider than her shoulders, and her skin is always perfect in the same way.
Friedrichshagen Where did you draw inspiration when designing the look for Margot Robbie’s Barbie?
IP: Luckily, I had access to Mattel archives, and I collected books on the history of Barbie. One of the rules was the dolls change outfits according to what they do and where they go. They change the complete look — clothes, shoes, accessories, hairstyle. During prep, I sat down with costume designer Jaqueline Durran and Margot, and we combed through the script and chose the look for every scene in the film. As Barbie changes outfits a few times a day, there were more hair and makeup changes than any character I have ever created in any film before.
What were the keys to her Barbie hair and makeup?
IP: The hair length varied for each costume. I also toned the Barbie blonde hair to each outfit so that the hair wouldn’t be too yellow or platinum. Margot’s makeup was very clean and we made her color warm and peachy. Body makeup was custom-made to achieve an even look on her body and face. I wanted to achieve perfection to her skin so that the knees, elbows, heels, and feet would always look smooth and perfect. The lipsticks and Barbie pink lips were always chosen by Margot according to the scene and outfit.
How did you create Ryan Gosling’s look as Ken?
Victoria Down: It was a collaboration with Ryan and the overall design of the film. As the principal Ken, he had to stand out and look as amazing as Margot. Ryan was in incredible shape as he was shirtless a lot of the time. We experimented with a few types of spray tans just as a base and decided to use the same product that all the other Barbie and Kens were being sprayed with. Ryan was very clear about being over-tanned, and shaded, accentuating all his attributes and I added an iridescent powder at the end to give him a bit of a plastic sheen.
How did you achieve that perfect tan for the Kens?
IP: All the body makeup was custom-made to suit each Ken. The body makeup was also formulated so it didn’t transfer onto clothes as we were in the pastel and pale world. So we had a range of tan colors from pale and peachy to a bronzed high tan, like Ryan Gosling’s Ken.
Where did you draw inspiration for the other various versions Barbie and Ken?
IP: I had an amazing team of versatile and creative makeup and hair artists. Every Barbie and Ken had their assigned makeup and hair artist, and they worked all of the changes out together. We choose a look for each character that was individual. I suggested ideas to each actor and we built the decisions together. For example, Hari Neff liked the idea of being the only redhead Barbie so we built on that. Director Greta Gerwig wanted to recreate a lot of the existing doll designs in the film so we dived into the archive and had a great time recreating Barbies from various decades. Dua Lipa’s Mermaid was the exact copy of the Mattel Mermaid.
What inspired Kate McKinnon’s weird Barbie look?
IP: Weird Barbie was one of the hardest Barbies to create. Kate McKinnon is the most fun, hardworking actor. She put up with many versions of her Barbie. Nothing was quite right for a while. Every version we created looked too fashionable, too sophisticated, or too punk and not like a doll that’s been played with too hard — I love that description of her character. Once we threw away the rules of the professional makeup artist and concentrated on the idea of a child playing with the doll too hard, we found the answer, and we scribbled on her like a kid would.
Were there any challenges on set?
VD: The film was shot during a very hot summer, so maintenance of the tattoo cover and body makeup was critical, as Ryan had so much physical action, dancing, stunts, etc. I ended up using a Jordane palette to cover the tattoos and even out his skin tone.
What was the best part of working on the Barbie movie?
IP: The collaboration between Greta and all her department heads and actors. Margot also being the producer was very helpful. We started preproduction knowing we had to invent a world and everything within it was quite daunting Communication was constant between us, especially Sarah Greenwood (Production Designer), Katie Spencer (Set
Decorator), and Jacqueline Durran. Cinematographer Rodrigo Prieto was great with sharing how makeup and hair colors would look once lit and surrounded by so much pink. We truly all became one in the creation of the Barbie world.
VD: Laughing out loud on set every day we worked! And having the privilege of watching the amazing performances of Margot Robbie and Ryan Gosling. I had no idea walking in, that both had such comedic/musical/physical abilities. And of course, Greta Gerwig — sheer brilliance.
Words Shannon Levy
Photos Courtesy Warner Bros. Pictures