A look inside Vogue's Summer issue, starring Margot Robbie:
Margot Robbie wasn’t a Barbie fanatic as a child. She’s not even sure she owned a Barbie. “I don’t think I did,” she tells me one morning over breakfast in Venice Beach. “I know my cousin had a bunch of Barbies, and I’d go to her house.” Growing up on Australia’s Gold Coast, Robbie spent a lot of time outside. She and her cousin would make mud pies. They’d play with trucks. And they’d play with Barbies. Mostly they’d build forts, “cubbies” to an Australian.
Robbie is dressed in a vintage long-sleeve Harley-Davidson T-shirt and a short body-con onesie, the sort of thing a teenage wrestler might wear to practice. “Makes me look like a giant baby,” she says of the onesie at one point. On her feet are New Balance sneakers and striped gym socks she recently bought in Japan, which say “Are you city boy?” around the ankles. Her hair is pulled back in double French braids, displaying dangly gold mermaid earrings she got in Ibiza.
Between bites of avocado toast, grilled Halloumi cheese, and Australian-style bacon—“Crisp it up,” she tells the waiter—Robbie delivers the–esque speed. There were previous attempts to make a Barbie movie. Amy Schumer was attached at one point. So was Anne Hathaway. Those projects never got off the ground. Robbie kept tabs on the status. As a producer, she saw huge potential in the Barbie IP. “The word itself is more globally recognized than practically everything else other than Coca-Cola.
LuckyChap wanted Gerwig and Baumbach to have full creative freedom. “At the same time,” Robbie says, “we’ve got two very nervous ginormous companies, Warner Bros. and Mattel, being like:They have a bazillion questions.” In the end LuckyChap found a way to structure a deal so that Gerwig and Baumbach would be left alone to write what they wanted, “which was really fucking hard to do.”
The swimsuit Robbie wears in the Dawn of Woman sequence is a replica of the one worn by the first Barbie doll in 1959. Over the course of the Perfect Day, Barbie changes clothes constantly. The progression—poodle skirt, disco look—amounts to a survey of Barbie fashion over time, says Jacqueline Durran, the film’s costume designer.
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