Margot Robbie Workout: Barbie & Harley Quinn Training Routine

Margot Robbie has one of the most envied physiques in Hollywood, and the training methodology behind it is more nuanced than most people expect. At 5'6" with a naturally lean build, she has worked consistently with London-based personal trainer David Higgins for years, developing a program that combines classical Pilates, functional movement, and sport-specific conditioning depending on her current role. The result is a body that looks equally at home rollerblading in Barbie or performing stunts as Harley Quinn in the Suicide Squad franchise. David Higgins, who has also trained actors like Daniel Craig and Jonathan Rhys Meyers, is not a conventional celebrity trainer. His background blends Pilates, myofascial release, postural analysis, and performance conditioning in a way that prioritizes longevity and injury prevention alongside aesthetics. The philosophy underpinning Robbie's program is that a well-functioning body looks good automatically — when muscles are firing correctly, posture is optimal, and movement quality is high, the aesthetic benefits follow without needing to chase them. For the Barbie film, Robbie spent months relearning how to rollerblade, incorporating balance and ankle stability work into her training. She also worked extensively on upper body tone — the Barbie aesthetic required her arms, shoulders, and back to look defined without appearing overly muscular, a balance achieved through high-repetition resistance work and Pilates reformer exercises that target stabilizer muscles. Her training partners on Barbie included a choreographer for the dance sequences, adding another layer of cardiovascular and coordination work to an already demanding program. For her Harley Quinn roles, the training shifted toward agility, power, and stunt preparation. This required adding more traditional strength training — deadlifts, squats, and pushing patterns — along with gymnastics-adjacent body control work that helped her execute fight choreography convincingly and safely. The contrast between her Barbie and Harley Quinn training demonstrates how effectively her program can shift emphasis while maintaining the same foundational quality of movement. The Pilates component of her training is worth highlighting because it is commonly misunderstood. Robbie's Pilates is not the gentle, low-intensity class version many are familiar with — Higgins uses reformer-based Pilates that loads the body significantly through spring resistance while demanding precise neuromuscular control. This builds deep stabilizer strength in the core, hips, and shoulder girdle that conventional gym training frequently misses. It also develops the long, lean muscle appearance that is characteristic of dancers and gymnasts. Robbie trains five to six days per week during production prep, dropping to three to four days during filming schedules. Sessions typically run 60-90 minutes and include a combination of mobility and activation work, the main training block, and active cooldown. She prioritizes morning sessions when possible, noting that exercise sets her mental state for the day. This consistency over years, rather than any particular exercise, is the foundation of her results. Her approach to fitness is pragmatic rather than obsessive. Robbie has been candid about not loving the gym inherently but appreciating what training gives her — energy, mental clarity, and the physical capability to perform her own stunts when possible. This attitude — training as a tool rather than an identity — is arguably the most sustainable approach to long-term fitness and one that more people would benefit from adopting. The nutritional strategy that supports her training is covered below, but the headline principle is consistency over restriction. Robbie does not follow extreme diets or eliminate entire food groups. Instead she focuses on high-quality protein to support muscle recovery, adequate carbohydrates to fuel training, and plenty of vegetables for micronutrients. She eats to support performance, and the aesthetics are a consequence of that approach rather than the direct target.