Smashing the plastic ceiling: how Barbie's inclusive communication approach broke the mould

Armed with a $150 million marketing budget, Barbie’s communication team invested its money loudly and proudly to not only get bums of seats but share its satirically feminist message with the masses. 

They unleashed a creative whirlwind of personalisable social media campaigns, brand partnerships with the likes of Airbnb and Burger King, and ubiquitous pink posters of the entire cast at bus and train stops across the globe. Meanwhile, the media strategy included viral interviews with prominent publications like Architecture Digest, GQ, and Vanity Fair, ensuring that Barbie's feminist message resonated globally.

The glittery marketing and PR strategy paid off. The Barbie movie's opening weekend grossed $155 million in the US and $337 million globally. However, the impact extended beyond the financial gains, reaching a far more meaningful milestone by empowering its intended audience – women, young and old, and the LGBTQIA+ community – as well as igniting vital discussions about feminism, representation and the patriarchy. 

It’s an undeniably epic campaign that introduces feminism to the masses, in a way that has never been seen before. This piece explores how the Barbie team crafted a communication extravaganza that went beyond mere box office success to champion progress and inclusivity.

1. Haters gonna hate: navigating negativity 

Despite rave reviews from the likes of The Rolling Stone, the Independent and the Telegraph, on Google reviews, Barbie has a huge amount of one-star reviews.

The barrage of negative reviews aimed at dismantling the film's feminist message is not an isolated incident but rather part of an observable pattern, known as 'review bombing', in films that challenge things like patriarchy, sexism, racism and homophobia.

Disney’s latest version of The Little Mermaid received a slew of negative IMBD reviews, following a hate campaign called #NotMyAriel for casting Black actress Halle Bailey as Ariel. In 2022, IMBD introduced a 72-hour pre-moderation for user reviews of The Lord of the Rings: The Rings of Power, which had attracted a backlash for casting people of colour as residents of Middle-earth. Meanwhile, films like the Eternals and series like The Last of Us were targeted for their LGBTQIA+ representations.   

Yes, it might not be five stars for everyone, but too often we see aggressive pile-ons that are unfair and even cruel. Indeed the negative reviews largely reinforce the main point of the Barbie movie – that we are living in a patriarchy that enjoys shouting over anything that challenges the current systems of power. Which in turn, acts as free user-generated marketing. On opening weekend a fan even turned some of the negative reviews into memes, which went viral.

So despite these critiques, the Barbie communication machine stood firm, using its expansive budget and loyal fanbase to drown out the haters and still reach its intended audience, while also protecting and standing by its cast, crew and spokespeople.

2. Protecting and empowering spokespeople

When running a campaign that is going to address topics like misogyny, sexism, the patriarchy, you need to stand by your spokespeople. Organisations that are set to profit from a specific campaign collaboration have a duty of care for anyone promoting the film, be that on social media, at premieres or to the press. 

Sadly, there have been several instances where business abandons their spokespeople to deal with angry online attacks. Trans influencer Dylan Mulvaney, for example, has spoken out against Bud Light, criticising the brand for not supporting her amid transphobic backlash to an advertisement featuring the influencer.

By refusing to backpedal or dial down its message when things got heated, Barbie's marketing campaign also served to protect and empower its diverse cast and crew. It fostered an environment where individuals felt safe enough to discuss equality-focused topics without fear. The film's spokespeople used their platforms to share their personal journeys, bringing authenticity and vulnerability to the discourse.

Trans actor Hari Nef, who played Doctor Barbie in the film, shared with her million Instagram followers the letter she wrote to director Greta Gerwig to secure her spot in the Barbie cast, a post that was picked up by several publications including Pink News, Attitude, and Pride.

Meanwhile, Issa Rae, who plays President Barbie, recalled in an interview for Ebony Magazine how playing with Black Barbie dolls helped her on her journey of understanding her racial identity.

3. Feminism for the masses: a global platform for change

Barbie's expansive marketing strategy not only promoted the film but also reinvigorated the feminist discussion on a global scale. 

The campaign posters highlighted the diversity of the cast, making sure that everyone could see themselves represented in marketing. Fans could even generate their own Barbie poster online, driving user engagement and personal connection with the film. A Buzzfeed article used AI to generate what the Barbie Dreamhouse would look like in 35 different houses across the world. Media interviews showcased not just the leads and the director but the entire team involved in making the film, from costume designers to set creators. 

This global and inclusive approach created a powerful platform for feminist ideas to be explored and shared with billions of people worldwide.

4. #Barbenheimer – collaborating to reach a new audience 

Barbie and Oppenheimer were released on the same day and the teams decided to actively endorse and encourage viewers to see both movies encouraging audiences to see both films back to back.

Gerwig and producer and star of Barbie, Margot Robbie, shared supportive #Barbenheimer tweets and Cillian Murphy, lead of Oppenheimer, told AP that he would “of course” be seeing Barbie.

For the Barbie communication team, this presented an opportunity to engage with an audience that might have otherwise ignored the film or thought it was not for them, despite being central to the plot – men. According to The Wrap, the Barbie audience is 66.2% female while the Oppenheimer audience is 70.7% male.

The Barbie movie isn’t anti-man, it’s anti-patriarchy, a system that also hurts men by not allowing them to express their emotions, encourages acts of violence, creates unrealistic beauty standards and rates men on their ability to accumulate wealth, power and status. All of this is explored through Ryan Gosling's character Ken, whose iconic and self-aware performance is already receiving Oscar buzz.

By promoting understanding and collaboration, Barbie challenged the zero-sum game approach often taken in business, which allowed it to spark a vital discussion about masculinity and toxic behaviour.

Conclusion

The Barbie movie's inclusive campaign not only smashed box office records but also served as a beacon of hope for the feminist movement. 

Yes, there are an array of fair critiques about the movie – it could be viewed as a corporate cash grab, it only introduces basic feminist concepts and although heavily implied throughout the film does not have an “out” LGBTQIA+ character. 

But Barbie’s unapologetic feminism, paired with its expansive and inclusive marketing strategy, empowered its audience, stood by its spokespeople, and brought feminism to the masses. The film’s success as an artistic and marketing masterpiece will be celebrated for years to come, not just for its financial achievements but for its significant contribution to progressive ideals and social change.

Emily Horton is CEO and founder of inclusive communication consultancy More Diverse Voices.