With Legally Blonde the rare exception, the women in these movies were a bit silly at best, and at worst, morally corrupt. In Y2K pop culture, almost every woman who was afforded ample screen time was impossibly attractive and in some way, a bimbo. We’re entering the decade of the bimbo, I can feel it in my 300CC breast implants And it’s a miracle I didn’t grow up on a diet, full stop. I grew up on a diet of Playboy bunnies and Pussycat Dolls. I think it’s got something to do with being a kid in the noughties. I’ve always wanted to be a bimbo, in my heart of hearts.

It’s easier to just be hot.Īnd for this gorgeous gorgeous girl, it feels like a return to centre. And after two years of uncertainty, we’ve come to realise there’s no point in trying to out-think things like pandemics or mathematics. It’s a purposeful rejection of my generation’s propensity to catastrophise and diagnose. The ethos of the 2022 bimbo is to have “less thoughts” and “more vibes”. Why was she speaking like that? Why was this bleach blonde, big-bosomed woman talking like a toddler? But on the other hand, which I should clarify is manicured, I was irritated. I’m outrageously attracted to the colour pink. On the one hand, they spoke to me aesthetically. Gerwig’s past films ( Frances Ha, Lady Bird, Little Women) have explored themes of identity, self and womanhood, and this – while it has a very different aesthetic – is no exception.Weeeee /IaOPGA3wbB- chrissy chlapecka January 16, 2022Īnd not gonna lie, when I first saw her videos, I was conflicted. In Barbie, like a kind of existential Elf, Barbie leaves Barbieland – a “mad fantasy of gorgeousness”, as described by the film’s set designer Sarah Greenwood – to learn about imperfection and mortality.

Similarly, Gerwig’s film will explore the idea that perfect good looks and smooth limbs do not preclude critical thought or emotional depth. In a (slightly) more mainstream iteration of the bimbo aesthetic, it is now very easy to acquire a tote bag – or better still, a miniature PVC handbag – bearing the slogan “live, laugh, lobotomy”. It’s about taking refuge in the fun being airheaded – knowing about the discourse but not wading through it, and focusing on your nails instead. The TikTokker and activist Chrissy Chlapecka, a prominent figure on “BimboTok” (the subsection of TikTok dedicated to the bimbo lifestyle), stipulates that the bimbo is pro-sex work, pro-LGBTQ, pro-BLM she is strictly left-wing and definitely woke, she just looks a million dollars. The modern bimbo as she exists online is not concerned solely with having fun – it’s more that she has moved through the stages of thinking critically in order to come full circle back to frivolity. News Oscars 2024: UK start time, how to watch and full list of nominees Read More Greta Gerwig’s hotly anticipated Barbie movie, which is being released in cinemas on 21 July, feels like something of a culmination of a phenomenon that’s been happening online for a couple of years: the feminist reclamation of the bimbo. Barbie was a bimbo, and bimbos wanted to be Barbies. Dress them up, do their hair, occasionally make them snog each other – Barbie play was about playing with a very specific type of femininity, expressed materially. On the 1997 song “Barbie Girl”, Aqua sang about being a Barbie girl in a Barbie world – translated, later in the lyrics, as “a blonde, bimbo girl in a fantasy world”. Though Barbie dolls had been around for 40 years by the turn of the millennium, they fitted perfectly into the bimbo era. She was the bimbo, and for a while, in pop culture, she reigned supreme. Paris Hilton in her Von Dutch low rises posing with a flip phone Katie Price on the cover of Nuts magazine Regina George in Mean Girlsdriving her silver convertible fridge magnets bearing the slogan “blondes have more fun, but brunettes remember it the next day”. Margot Robbie stars as Barbie in the film (Photo: Warner Brothers)

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