Carol Spencer

Carol Spencer ’55 is the author of Dressing Barbie, a retired designer from Mattel, Inc., following over thirty-five years of tenure, and a fashion design alum of the Minneapolis School of Arts (now known as the Minneapolis College of Art and Design). She has designed some of Barbie's most iconic looks, including the best-selling Totally Hair Barbie, Great Shape Barbie (which appears in the Toy Story films), and the Golden Jubilee Barbie, the first doll to ever bear its designer's signature. We caught up with her to talk about her book release, what it was like to work for Mattel, Inc., and how creativity continues to play a role in her day-to-day life.

What was the fashion design program at the Minneapolis School of Arts (MSA) like?

The fashion design program was comprised of both fashion design and illustration and some fine art. We researched fashion history as well as current fashion to help us learn how to recognize or the start of new trends. Also, we learned to drape (allowing the feel of the fabric to influence the design of the garment—akin to sculpting a gown on a mannequin ). This program was run and taught by Ellen Moberg, a fashion designer and fine artist who was a member of the Fashion Group International, Inc.

In fashion illustration, we adapted our drawing skills toward illustrating fashions we designed. This was in addition to life drawing, painting, photography, and sculpting classes.

How have you applied what you learned at MSA into your post-college work?

Recently, I took almost half of the photos in Dressing Barbie using basic artistic principles of photography learned at MSA and later from a protégé of Ansel Adams.

It has been sixty-four years since I graduated MSA with a BFA degree. In a few words, my education allowed me to create designs as needed for multiple age groups, starting in infants’ and children's wear (appliques, printed fabric designs), all age ranges (color palettes in clothing and toy design), designing prints in scale, and designing doll clothing, along with all accessories.

Actually, the principles I learned were used in my designs every day.

How did you apply the fundamentals you learned at MSA into the computer age?

In high school, I mastered typing, which led me into the computer age. In about 1985, Mattel files expanded from the old mainframe into personal computers. Though this was statistics and not artistic, it was a major change.

In the early 1990s, Mattel bought a computer-aided design program. I sat in on the instructions and then taught myself the nuances. I took classes at the Beverly Hills’ night school to learn Photoshop at about the same time.

In my home today, I have a large Mac computer, a professional scanner, an inkjet printer that can print one-hundred-year-old photos, and a laser printer as well as a MacBook Pro for use away from home. I have an Adobe account for the latest programs centering around Photoshop, Lightroom, and Illustrator. I will soon begin using Premiere Pro to create YouTube videos. I still prefer to draw with pencil, ink marker, pen, etc.—as I learned at MSA—and scan the drawing into the computer.

How did you land the job at Mattel, Inc.?

I answered an advertisement in a trade paper looking for a fashion designer. I was required to make a fashion design and pattern for the Barbie doll that would answer two questions: Did I really want to design for this scale and would my design be saleable?

What is a typical day like when designing for Barbie?

A typical day at Mattel has changed.

In the early years, the Barbie design group designed everything using soft goods: stuffed animals, large baby dolls, small art dolls, and, for the teenage fashion model, Barbie. Therefore, the design phase was different with each product. As the company grew, designs for Barbie were separated from the soft toys.

• 1960-1999: Each designer had their own team of one or two sample makers and competed with the other designers. During my years as a Barbie designer, I competed for every project.
• The 1960s: Mattel wanted to see 3D rather than 2D drawings. Most 3D designs were child-tested in a room on-premises to determine the appeal. A typical day was spent creating designs that had accessories to complete the play situation. We designed every aspect of the product. I tired of hand painting garments on fabric during this period; therefore I made silkscreens using the method I learned at MSA.
• The 1970s: We quickly went into 3D designs once the theme for the line was in place. Barbie fashions and dolls put the company back into profitability. This was a decade where problems occurred, including a dock strike before Christmas, a fire in a Barbie manufacturing plant in Mexico, and fabrics being impacted by the oil embargo. By the mid-70s, glamour returned to fashion and we could, once again, use rich brocade fabric and oil-based fabrics. The music scene influences were also changing.
• The 1980s: This was the time that change was occurring at Mattel. Computers were entering the scene, and the original methods were changing. The detail of each position was entered into the computer to determine how to simplify and/or divide the tasks. Fashion was also changing, and the role of marketing grew to new heights. This was when the weekly Design Reviews began. At these meetings, designs were presented by the designer at the Design Review for the approval process. I had the opportunity to head the Orient Design Group while living in Hong Kong for two years to determine the feasibility of moving design closer to the manufacturing source. We manufactured in China, the Philippines, Malaysia, Taiwan, and Korea.
• The 1990s: Processes continued to change, and new technology entered.

You have designed some of Barbie’s most iconic looks. What are some of your favorite designs?

I used to say my next design was my favorite. However, looking back I think that Benefit Ball Barbie [pictured left] and the fashions that accompanied the doll is my all-time top favorite. This is because it brought the Mattel designer into the limelight. Before that, we were unknown. We wanted a byline and to become recognized for our designs.

How did your book, Dressing Barbie, come about? What was the process like in creating the book?

It began as a dream while I was still working at Mattel. I was able to get a license with Mattel to do the book at no royalty. Once I retired, they would not recognize the license for many years. Then, a breakthrough occurred fourteen years after I retired when I paired with a screenwriter to prepare the book proposal. I still had friends working at Mattel and was able to make the book a reality.

The process was arduous, as my partner had to leave our partnership shortly after I signed with HarperCollins publishers due to a prior Mutual Non-Disclosure Agreement (MNDA). HarperCollins required me to hire a ghostwriter to do the actual writing of the copy and I had to be qualified for the quality of photos. Once I passed all the requirements, I started all over on the book, aligning it to the format HarperCollins set up.

What are you up to now?

I am still publicizing my book. The sales are very strong, especially for the first six months without a Christmas selling season. I am also beginning presentations based on my book and the Barbie doll. This past August, I did a two-hour presentation at the National Barbie Doll Collectors Convention. Later this year and next year, I will be presenting at the Broad Theater in Santa Monica, the Fashion Institute of Technology in New York City, and the Lorenzo Cultural Center near Detroit in conjunction with their museum show on toys.

What are some of your favorite hobbies and/or things to do to unwind?

I like exercising, taking walks in the park, and having coffee with friends.

How do you stay creative?

While a student at MSA, we debated the divide between fine art and commercial art many times over a beer or soft drink at the small 3.2 bar that was on Nicollet Avenue, close to MSA. My life followed commercial art creativity rather than fine art creativity, although our fundamental studies at MSA were identical.

I have been officially retired for almost twenty years. I continually interact with others and I research each new change in technology that applies to creativity and artistry—learning what I choose.

How does creativity play a role in your life?

The word “creativity” does not come to me daily; however, I find that I tackle each day with a creative mind, and each day brings something different. 

• Shortly after I retired, I became active in local politics and during the course worked with the City of Los Angeles–City Planning Department to redesign a major roadway near my home, so that it would meet current and future demands.
• While active in the Westwood Community council I headed a group who were trying to find ways to revitalize Westwood Village adjacent to University of California, Los Angeles (UCLA).
• I am currently learning the creativity of selling Dressing Barbie online (i.e. Facebook, Instagram, YouTube, etc.) without actually opening a store to sell.
• I am also designing creative presentations on my book and learning the latest technology through self-teaching. 

Remember, as an artist you must become recognized in whatever field you choose, and then you must stay relevant and exceed above others in your field. Competition never ends, and you must somehow remain as long as you choose—no matter what.

Do you have any advice for MCAD artists?

All I can say is stay relevant. The future is continually changing; therefore all MCAD students should NEVER STOP LEARNING! Continue to adapt your skills as you go forward.