In 1998, I had the privilege of having an essay I wrote included in the book “Adiós, Barbie.” This anthology showcased the perspectives of young women on body image and identity. My essay, titled “At Home in My Body: An Asian-American Athlete Searches for Self,” explored my experiences growing up biracial and how I found solace in identifying as an athlete during college, specifically in the sport of rowing.
During my childhood, I noticed that there were no Asian versions of Barbie dolls. This lack of representation extended to the world of NCAA rowing, which was mostly dominated by white athletes. However, as I bonded with my teammates and witnessed the incredible strength of our bodies, I realized that our abilities meant more than our looks. This acceptance from my team gave me a newfound confidence in embracing my identity as an Asian American athlete.
The authors of “Adiós, Barbie” shared their stories of being Black, brown, fat, and deviating from society’s idealized Barbie mold. This book was published by Seal Press, a small feminist publisher, and garnered attention from women’s studies classes nationwide. I felt proud to contribute to a collection that encouraged young women to contemplate body image, race, and the multiple facets that shape our sense of self.
Unfortunately, a year after the book’s release, Seal Press faced legal action from the corporate giant, Mattel, the company behind Barbie. Mattel claimed trademark infringement, arguing that the inclusion of Barbie in the book’s title and cover image violated their intellectual property rights. Despite Seal Press lacking the resources to fight a legal battle, they settled the case by paying Mattel $10,000 and discontinuing the sale of the current version of the book after 4,000 copies.
Mattel’s trade dress for Barbie included distinct elements like the color pink, the doll’s leg and foot, the high-heeled shoes, the scallop-shell hairbrush, and the heart-shaped charm necklace. They insisted that Seal Press remove all these elements from the book cover. Unfortunately, Barbie pink, which is essentially just hot pink, was now off-limits due to a toy company laying claim to a shade of color.
Although Seal Press was able to republish the book with a new title, “Body Outlaws,” and a new cover design, the original title, “Adiós, Barbie,” had been a perfect representation of the book’s themes. I am grateful that the book wasn’t completely silenced, but it was disheartening to see a feminist press like Seal Press being pursued and penalized by Mattel. Seal Press had given “Adiós, Barbie” an opportunity to reach readers who, like me, were navigating their careers and forming their sense of self in the face of societal expectations shaped by Barbie.
I had the pleasure of working with Ophira Edut, the editor of “Adiós, Barbie,” who went on to co-found Hear Us Emerging Sisters, the first national multicultural women’s magazine. Being a part of this magazine was a significant milestone for me, as it marked the first time my writing was published in a magazine. Edut invited me to contribute to “Adiós, Barbie,” and I eagerly accepted the offer.
Speaking about the recent attention surrounding the Barbie movie, Edut recognizes that Barbie has undergone constant reinvention as a brand. Originally inspired by a German prostitute, Barbie transformed into the epitome of the patriarchal ideal woman, embodying blonde whiteness, thinness, sexiness, and purity. While Edut appreciates the 2023 Barbie’s feminist portrayal, she acknowledges that in the late 1990s, she and other writers challenged the institutionalized “isms” that Barbie embodied through their work in “Adiós, Barbie.”
Personally, I don’t harbor strong negative feelings towards Barbie. I had a few Barbie dolls during my childhood, but my mom also encouraged me to play with dolls that represented a more diverse and realistic world. When my daughters expressed interest in playing with Barbies, I allowed them to, but I refrained from purchasing them myself. The Barbies they played with were always hand-me-downs from family and friends. Interestingly, my daughters used Barbies as mannequins to showcase their fashion creations rather than idolizing them.
While I don’t want to diminish the significance of the new feminist Barbie movie or wish ill upon the brand, I can’t bring myself to contribute to Mattel’s Barbie earnings. Even if the movie is empowering and features actors I admire, I won’t be joining the crowd eagerly waiting to shower Barbie with praise.
When Mattel sued Seal Press, it was evident that “Adiós, Barbie” posed no threat to their product. By the time the lawsuit was filed, the book had already been in circulation for a year. Mattel simply flexed its corporate and legal muscle, believing it had the upper hand. Their argument centered around the idea that Seal Press intended to deceive or confuse the public into thinking that “Adiós, Barbie” was officially associated with Mattel. This claim of deception contradicts their assertion of having gained “enormous goodwill.”
To me, it is absurd to think that someone would assume a book titled “Adiós, Barbie: Young Women Write About Body Image and Identity” was sponsored by Mattel. The message sent by Mattel to us young women contributors was clear: our voices and expressions of feminism were not allowed to challenge their established norms. Furthermore, we were forbidden from using hot pink on the book cover.
Ultimately, I have no desire to rain on anyone’s feminist Barbie parade, nor do I wish any harm towards Barbie. I applaud any progress Barbie makes toward embodying reality and promoting self-discovery. However, I won’t be lining up to present Barbie with a gift, even if the movie is claimed to be a feminist masterpiece featuring talented actors. Mattel’s actions against Seal Press during the “Adiós, Barbie” era left a bitter taste, cementing my decision to not financially support the corporation.
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