In the ever-evolving world of corporate fashion, the striking new film ‘Babygirl’ serves as a bold commentary on ambition and attraction. Set against the backdrop of a high-stakes robotics company, Nicole Kidman stars as Romy, a formidable CEO whose polished exterior conceals an undercurrent of vulnerability. This film takes us on a surprising journey where the traditional power dynamic in the office is flipped on its head by a mysterious intern, Samuel, played by Harris Dickinson.

The narrative unfolds with Romy bumping into Samuel, whose unrefined style raises eyebrows but ultimately lures her into an unexpected affair. Their interactions are fraught with tension, as Samuel flouts the conventional norms of office life, presenting a stark contrast to Romy's meticulous and sophisticated wardrobe. The costume designers, Kurt Swanson and Bart Mueller, cleverly emphasize this clash between high-fashion professionalism and the awkwardness of a newcomer trying to find his place.

The first impression of Samuel brilliantly encapsulates the quintessential intern look: a mismatched suit that appears borrowed, an ill-fitted parka, and a slouchy backpack that belongs more in a college dorm than an executive office. This intentional representation is not just an afterthought but a well-calculated decision to illustrate the struggle of a young man navigating the high-pressure world of corporate America. "Our mood board was half Google images and then half stealth photos of interns on the subway," remarked Kurt, highlighting their focus on authenticity in wardrobe selection.

As Samuel evolves from a faceless intern to Romy's secret admirer, his clothing becomes a symbol of his contradictory existence—fighting to balance ambition and naivety. The costume design plays a pivotal role, making Samuel relatable while simultaneously amplifying the absurdity of Romy's attraction to him. Bart added, "It’s that contrast that makes the narrative so compelling—Romy, dressed in high-end designer outfits, falls for someone whose entire ensemble likely costs less than a single item in her closet."

This power shift is not merely superficial; it reflects the intricate layers of desire and repulsion that exist within both characters. Underneath Romy’s polished exterior lies the desire to relinquish control, finding freedom in vulnerability through her relationship with Samuel. Bart aptly sums this dynamic up: "The power dynamic is shifting, and it was fun to help support that confusion through the costumes."

As audiences dive into ‘Babygirl,’ they are not just entertained by a dramatic love affair; they are invited to explore the nuanced territories of desire, status, and the unexpected places where these forces collide. With its sharp wit and profound insights woven seamlessly into the costume design, ‘Babygirl’ promises to not only entertain but also spark conversations about the complexities of workplace relationships and the fashion that defines them. Get ready for a film that challenges perceptions and turns conventional office culture on its head!