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All the advances regarding the film Barbiethe Greta Gerwig film that will debut in Italian cinemas the next July 21stend up dramatically increasing the public’s curiosity about the project, prompting them to look for more and more details on this pop blockbuster set in a phantasmagorical world and, to say the least, monochrome.
The ultimate source of movie spoilers comes from Architectural Digest which he published photos of the Dreamhouse, literally, the dream house of the Mattel doll. The panoramic and close-up shots of the blonde doll’s residence have gone viral and have already sent fans into raptures.
The set inspired by the Palm Beach aesthetic
The shots published by Architectural Digest, the first in which the bombastic scenography can be appreciated without being distracted by the characters/actors, show the intense work carried out by the duo of set designers enlisted by Gerwig to make his fantasies about theBarbie universe that the director imagines – not wrongly – Perfect.
Sarah Greenwood And Katie Spencerwho have jobs such as Pride and Prejudice of 2006 for which they were nominated for an Oscar, they drew heavily on theaesthetics of happy places and vacationers like Palm Beach in a precise historical moment: the mid-twentieth century when it was still possible to identify places in which to retire to enjoy a healthy and luxurious relaxation.
Modernist inspiration without losing sight of the design and (more than) a pinch of healthy madness because in the Gerwig set, rebuilt in the Warner Bros. Studios outside London, everything reproduces the real world created by Mattel for its iconic doll, starting proportions and down to the smallest detail.
A pink and fun universe
The set designers, who bought real Mattel toys to study their proportions, observed that the interiors and exteriors were usually designed with smaller proportions than the dolls, which ends up making the latter large for the interiors but small for the rest of the scenario. The general impression is, therefore, always alienatingone fiction which is also underlined by the use of toy style backdrops brightly painted.
The high multiplies room after room and room after room where everything is designed to be ridiculous and fun, overflowing with shimmering and cutesy elements but most of all fuchsia pink. The iconic shade of pink that is traditionally associated with the Mattel doll universe visually dominates the scene for an absolutely desired joyful effect that will be familiar to the eyes of anyone who has ever played with a Barbie but also to those who have never owned one.
The feminism of Barbie and of Gerwig’s cinema
Artificiality is not an end in itself but functional to the intent profoundly feminist which permeates all of Greta Gerwig’s oeuvre including this latest title.
Barbie/Margot Robbie and all her friends have houses, cars, dream wardrobes and that’s why very emancipated. These characteristics of the characters also follow the ideas of the Mattel creators who put the first Dreamhouse on the market in the early 1960s, a time when practically very few women owned a house of their own. A dreamtherefore, of progress for the female gender which then translated into reality within a few decades and which now, thanks to the big screen, returns to viewers in the form of reality enhanced by the extraordinary imagination of the director and screenwriter from Sacramento who is no coincidence that she is one of the most popular women in cinema contemporary.