Jack Ryan is the novel’s deuteragonist, a complex, tragic figure whose brilliance as a design engineer is paralleled by his profound internal turmoil. Although a “genius” creative, Jack is plagued by insecurities stemming from a lonely childhood, unsupported dyslexia, and an undiagnosed bipolar disorder. Jack is shown using work to channel his “manic” creative energy and to avoid confronting the difficult aspects of his mental health and personal life. Jack’s motivations are a need for approval and a desire to fill the emotional void left by his cold and distant parents. At Mattel, he views Ruth as a “mother figure” (14) and constantly seeks her praise. His relationships with women are numerous but shallow, a form of “avoidance behavior” (93) to stave off his loneliness.

Jack is portrayed as an attractive and sympathetic character, explicitly eschewing the rife sexual harassment in which his male colleagues indulge. However, his outward persona as a charismatic Casanova and creative force masks deep-seated psychological struggles. His Bel Air mansion, known as “the Castle,” is a symbol of his psyche: a grandiose, theatrical sham that hides his personal insecurities. Jack’s character arc is a tragic descent. The immense success of Barbie makes him a wealthy man, but the money and fame inflame rather than staunch his unhappiness, leading to increasingly risky behaviors. The conclusion reveals that Jack dies by suicide, perhaps suggesting that his struggles with mental health persisted into later life.

Elliot Handler functions as a foil to both his wife, Ruth, and her collaborator, Jack Ryan. He is a round, though largely static, character whose gentle, supportive, and cautious nature contrasts with Ruth’s aggressive business drive and Jack’s more erratic creativity. Described as a “dreamer, fanciful and childlike” (44), Elliot is the initial inventive force behind Mattel, creating the Uke-A-Doodle and other early successes. While Ruth handles sales and business strategy, Elliot is happiest tinkering with designs. He represents the artistic soul of the company, a steady and calming presence who often acts as the “peacekeeper” (96) when Ruth’s temper flares. His primary motivation is to support Ruth and maintain harmony within both his family and his company. His love for Ruth is unwavering, but he struggles with her increased absence from their family life, briefly jealous of the intense creative bond she shares with Jack. The first to support Ruth’s initial vision of Barbie, Elliot also provides the iconic name. Elliot’s gentle leadership style is unable to prevent the hostile corporate takeover of their company’s culture, which ultimately leads to his and Ruth’s marginalization. His journey reflects the loss of the company’s original, family-oriented spirit in the face of Wall Street’s relentless demands for growth.

Stevie Klein is a dynamic supporting character who embarks on her own distinct journey of professional and personal growth. Unlike the other main characters, Stevie is a purely fictional character, created by Rosen. As such, she illuminates key themes and perspectives in the novel. A talented and resilient aspiring designer who has experienced professional and personal setbacks, Stevie’s arc follows the independent woman’s journey that Barbie is designed to promote. Her pragmatism, ambition and hard work make her part of the novel’s feminist thesis, showing her quickly becoming an invaluable member of the Barbie team.

Stevie’s character is used by Rosen to help illuminate the personal lives of other, historical characters. Charlotte Johnson acts as her mentor, while her relationship with Jack Ryan evolves from initial dislike to a passionate affair and finally into a deep, albeit complicated, friendship, helping to parse the relationship between Jack’s interior and exterior identities. As Mattel changes, Stevie’s perspective on her work shifts. She moves from seeing Barbie as a mere stepping-stone to recognizing the doll as her muse, a realization that unlocks her full creative potential and symbolizes the continued influence of Barbie. Eventually building an impressive portfolio pursuing her ultimate career goal, Stevie’s arc supports the novel’s optimistic message that (female) ambition can find fulfilment.

Charlotte Johnson is creative force in the Barbie project and an example of female professional excellence. A former “Seventh Avenue hotshot” (15), she is an accomplished fashion designer who agrees to design for Barbie out of financial need following a divorce. Her pragmatism and professionalism are immediately apparent, and Charlotte provides the essential bridge between the world of high fashion and the toy industry, lending credibility and sophistication to Ruth’s vision of a fashion doll. She understands that Barbie’s success depends on a high-quality, stylish wardrobe with realistic details like tiny zippers and buttons. As a mentor to Stevie Klein, Charlotte is patient but firm, guiding her through the technical and creative intricacies of designing for the doll. Her presence ensures that Barbie’s fashion is a central component of her identity and a primary driver of sales.

Barbara Handler, the doll’s reluctant namesake, functions as a flat character and a key antagonistic force in her mother’s personal life. She embodies the theme of the personal costs of professional commitment, as the conflict between her and Ruth is perceived by them both as the consequence of Ruth’s demanding career. In fact, this friction reflects their different choices in life and their contrasting attitudes towards their roles as women. Barbara craves a “normal” life and resents her mother’s constant absence, her family’s wealth, and the notoriety that comes with being associated with the doll. Her cry, “I’m not your stupid doll” (87), encapsulates the central tension of her character and her relationship with her mother. Barbara’s rebellion manifests as a rejection of everything Ruth values: She performs poorly in school, dismisses the idea of college, and rushes into a conventional marriage that her mother opposes. Her overt hostility creates a powerful undercurrent of guilt and conflict for Ruth, who feels failure at her own daughter choosing a traditional path.