Category: Magazines

Cate Blanchett interviewed by Yo Dona & Grazia Italy #SaySì #Manifesto

Cate Blanchett interviewed by Yo Dona & Grazia Italy #SaySì #Manifesto

Hey everyone!

Two new magazines!
Cate blanchett spoke to Yo Dona (Spain) in a promotional interview for fragrance Sì by Giorgio Armani and she also spoke to Grazia Italia about her recent projects, including Manifesto that is opening today at the 16th Tribeca Film Festival in New York. More info about the screening here. Enjoy !

Yo Dona Spain


Grazia Italia


Gallery Links:

Cate Blanchett interviewed by Harper’s Bazaar Mexico and Vogue Netherlands #SaySì

Cate Blanchett interviewed by Harper’s Bazaar Mexico and Vogue Netherlands #SaySì

Hey everyone!

Cate Blanchett spoke to Harper’s Bazaar Mexico and Vogue Netherlands to promote the new fragrance Sì by Giorgio Armani. Both interviews are also part of the promotional events in which Cate met with several magazines during The Present season on Broadway. Enjoy the reading!

Harper’s Bazaar Mexico April 2017


Gallery Links:

Vogue Netherlands May 2017

A touch of Cate

Cate Blanchett is ongelooflijk veelzijdig: ze staat op Broadway in The Present, is het gezicht van de nieuwe Armani-geur Sì Rose Signature en werd benoemd tot VN-ambassadeur. Vogue sprak haar in New York: ‘Ongecensureerd en direct, daar hou ik van!

Broadway – het beroemde Barrymore-theater gonst van de bezoekers. Door de statige deuren, omlijst met klassieke ruches van rode stof, stromen de toeschouwers binnen, in pak of feestelijke jurk, speurend naar hun plekje tussen de goudkleurige balkons. Nog een laatste keer de smartphone checken – het is en blijft New York – en dan doven de kroonluchters. Ik laat me net wat dieper in mijn pluchen stoel zakken. Het doek gaat op.
Daar staat ze, als enige op het podium, in een lange blauwe jurk, met één been leunend op de zitting van een houten stoel. Een haast koninklijke pose: trots, sierlijk, elegant. Nog voor ze zich ook maar verroert, davert een warm applaus door de zaal. Want ja, het is toch écht Cate Blanchett (47) die daar op het podium staat, de Australische actrice die twee Oscars en drie Golden Globes op haar uitgebreide palmares heeft prijken, die geroemd wordt om haar indringende vertolkingen, haar schoonheid en intelligentie.
Roerloos, met een hint van een glimlach om haar lippen, neemt ze het applaus in ontvangst. Dan begint haar Broadwaydebuut, een drie uur durende bewerking van Anton Tsjechovs eerste toneelstuk. Andrew Upton – de Australische schrijver met wie Cate twintig jaar geleden trouwde en vier kinderen heeft – bewerkte Tsjechovs tekst en laat het Rusland van de negentiende eeuw resoneren in modern New York. In The Present, zoals de voorstelling heet, wordt vooral Cate door critici gelauwerd om haar acteerprestatie.

COMPLEXE MANNEN
Een halfuur na de zinderende finale, daalt Cate in leren kokerrok op torenhoge hakken elegant de trap af naar de theatersalon, waar de verzamelde pers haar opwacht. In haar filmrollen heeft de actrice vaak iets statigs en verhevens: de koude monarch in Elizabeth, de verveelde upper-class wife in Carol, de etherische elfenkoningin in The Lord of The Rings. Maar hier, in de pluchen warmte van het Barrymore-theater, is ze vooral down-to-earth met een opvallend diepe stem en een aanstekelijke, ongedwongen lach.
Twee keer een voorstelling van drie uur spelen op dezelfde dag en dan nog fris en monter voor de pers verschijnen, dat moet heel wat vergen, suggereer ik. Cate schudt het hoofd: ‘Nee, dit werk is niet wat me wakker houdt. Ik ben moe omdat ik gisteren tot twee uur ’s nachts op CNN en Al Jazeera heb gekeken naar wat er allemaal in de wereld gebeurt. Veel mensen zijn boos, ik wil hun woede begrijpen. Ik wil het nieuws van alle kanten zien.’
In The Present wordt af en toe raak uitgehaald naar de politieke actualiteit, maar er zit ook verrassend veel humor in de tekst. Enthousiast: ‘Mensen vergeten vaak hoe grappig Tsjechov is.’ Het is een complex schrijver, beaam ik. Cate buigt zich naar me toe en fluistert op ironische toon: ‘Het spijt me je dit te moeten vertellen, maar álle mannen zijn complex.’
Achterin, op de trap, handen om gebogen knieën, zit een jongen van een jaar of tien. Afwisselend bewonderend en verveeld kijkt hij naar de kakelende menigte. Dan raapt hij zijn moed bij elkaar en schuifelt tussen de mensen naar Cate, slaat zijn armen stevig om haar benen. Cate schrikt, kijkt om, ziet haar zoon en lacht vertederd. Het is half twaalf en mooi geweest; mama moet mee naar huis.

NIET IN STEEN GEBEITELD
Gedurende de speelperiode van The Present verblijft Cate met haar man en kinderen in New York. Samen hebben ze drie zoons: Dashiell (15), Roman (13) en Ignatius (11). Twee jaar geleden adopteerden ze dochter Edith (2).
Eigenlijk is het vreemd dat Cate nooit eerder op Broadway heeft gestaan. Ze knikt: ‘Andrew en ik wilden het al een lange tijd, maar de speeltijd van Broadwayshows is drie tot zes maanden en het bleek onmogelijk om onze agenda’s samen zo lang vrij te houden.’ Met haar man runde ze van 2008 tot 2013 de Sydney Theatre Company, een van de meest gerenommeerde gezelschappen van Australië. ‘Nu we het theater niet meer leiden, is veel meer mogelijk.’

Hoe is het voor haar om voor het eerst op Broadway te spelen? ‘Het publiek is heel betrokken en divers. Maar Andrew en ik zijn vooral trots om met deze voorstelling Australisch talent ? bij een Amerikaans publiek te kunnen introduceren.’
Tijdens de repetities voor The Present ging het er regelmatig heftig aan toe: ‘Andrews tekst staat niet in steen gebeiteld, hij is vooral benieuwd wat de acteurs ermee gaan doen. Voor ons is de repetitieruimte een plek waar we met de hele groep discussiëren, soms zelfs ruziën over conflicterende ideeën. Gelukkig nemen we die conflicten niet mee naar huis.’
Lukt het bij zo’n nauwe samenwerking met haar partner om het werk achter te laten? Lachend: ‘We moeten wel; met vier kinderen heb je geen tijd om over werk te praten.’ Met lichtspijtige ondertoon ‘Of überhaupt te praten!’

SLINGERENDE BEHA
Cate Blanchett is geboren in Melbourne en groeide op met een oudere broer en een jongere zus. Haar moeder is een Australische onderwijzeres, haar vader was een Amerikaans marineofficier die later werkte in de reclamewereld. Toen ze tien jaar oud was, stierf Cate’s vader onverwachts. Haar moeder is nooit hertrouwd.
Op de middelbare school ontdekte Cate haar passie voor acteren en tijdens een reis in Egypte werd ze gevraagd voor een figurantenrol als cheerleader in ruil voor vijf Egyptische ponden en een falafel. Toen ze op de set kwam waar een man in het Arabisch door een megafoon schreeuwde, waar het warm was en het wachten lang, hield ze het voor gezien. Haar filmdebuut zou nog even op zich laten wachten.
Na die reis werd ze toegelaten tot het prestigieuze National Institute of Dramatic Art in Sydney. Film was geen prioriteit. Cate: ‘Ik was bezig met theater en dacht eerlijk gezegd niet dat een filmcarrière ooit mogelijk zou zijn. Theater is en blijft mijn grote liefde. Je hebt er zo’n directe, dynamische relatie met je toeschouwers. Dat maakt het voor mij bevredigend. Bij film heb je nauwelijks zicht op de reacties, critici kunnen in hun recensies totaal anders reageren dan het publiek. Ik hou van de rauwe, eerlijke respons in het theater.’
Zoals de lach die door de zaal galmt als Cate in The Present frummelt aan haar beha, hem onder haar jurk vandaan trekt en met een boog wegslingert. Een opvallende move. Ze glimlacht: ‘Dat heeft alles te maken met de moeder van Andrew. Tijdens het schrijven van The Present is ze helaas overleden. Ze had de gewoonte om aan het einde van lunches of feestjes iets dergelijks te doen. Andrew heeft het een plek gegeven in de voorstelling.’

‘Mijn dagelijks leven heeft veel weg van een militaire operatie’

Cate acteert, regisseert en produceert, maar haar creatieve curriculum reikt verder: op het Holland Festival is deze zomer Manifesto te zien, een indrukwekkende beeldende-kunstinstallatie van Julian Rosefeldt, waar Cate op negen schermen evenveel rollen vertolkt.
‘Beeldende kunst inspireert me. Julian en ik waren al langere tijd van plan om samen iets te maken. Toen hij zijn idee voor Manifesto met me deelde, was ik meteen enthousiast. Het project ging fast and furious; we filmden negen dagen lang, er was nauwelijks repetitietijd. De film is grotendeels uit improvisatie ontstaan: ongecensureerd en direct, daar hou ik van. Ik vind het een uitdaging om toeschouwers te verleiden zich te verhouden tot een manifest. We leven in moreel verwerpelijke tijden, waarin elke vorm van idealisme gewantrouwd wordt. Iedereen die een creatief geluid laat horen wordt elitair genoemd en dus gemarginaliseerd. Ik vind het mooi om met dit kunstwerk terug te gaan naar een tijd waarin mensen hun overtuiging en idealen durfden te delen.’
Beschouwt ze de installatie als een statement? Ze krult haar lippen, schudt het hoofd: ‘Statements interesseren me niet. Het is een twijfelachtig voorrecht om op dit moment in Amerika te leven. Het zijn turbulente tijden en ik vind het als vrouw schokkend en ontmoedigend wat hier allemaal gebeurt. Maar de onrust heerst niet alleen hier in Amerika; wereldwijd worden grote groepen gemarginaliseerd. Vijfenzestig miljoen mensen zijn op drift, een situatie die alleen kan verbeteren door intensieve samenwerking, niet door het zaaien van nog meer haat en verdeeldheid.’

ROZE MUTS
Vorig jaar werd Cate aangesteld als wereldwijd Goodwill Ambassador voor de Verenigde Naties. Ze werkte mee aan de korte film What They Took With Them, gebaseerd op getuigenissen van vluchtelingen: ‘Hun schrijnende verhalen raken me, maar ook hun onvoorstelbare veerkracht en optimisme. Ik kom uit een land dat gekoloniseerd is door de Nederlanders en de Engelsen, een land dat door migranten is opgericht. Toen ik op school zat, was de multiculturele samenleving iets om te vieren – hoe anders is het nu! Gelukkig zijn er nog steeds miljoenen mensen bereid om op te staan en te vechten voor het kloppende hart van een land als Amerika.’
Onder hen Cate zelf, die op Broadway betoogde in een gebreide roze pussyhat, een initiatief van feministen die tijdens manifestaties met de roze muts met oortjes niet alleen hun eigen solidariteit maar ook die van de mutsenmakers vertegenwoordigen. ‘Ik heb mijn muts van een vrouw gekregen die er maar liefst tweeduizend had gebreid. Kun je je dat voorstellen? Dat is pas engagement!’
Zonder opsmuk of poeha liep Cate tussen de betogers, dochter Edith op haar arm. ‘Wat mij vooral ergert is de wijze waarop het discours zich aan het ontwikkelen is: vluchtelingen zijn ineens immigranten en worden in één adem terroristen. De woorden versmelten, maar het zijn woorden met een heel andere betekenis.’ Ze benadrukt met haar zangerige, lage stem: veeeery different.
‘Het merendeel van de vluchtelingen is kind, weggerukt van de ouders, vaak fysiek gehavend door granaatscherven; als ouder vind ik dat hartverscheurend. Want, eerlijk waar, ik zou ook vluchten. Als ik in een dergelijke situatie zou verkeren met mijn vier kinderen, zou ik ook vertrekken en ik ben ervan overtuigd dat iedereen in die positie precies hetzelfde zou doen. Er is op de wereld een schrijnende behoefte aan meer empathie en medeleven.’

‘Be present! Voor mij draait schoonheid om presence, er helemaal durven zijn’

Ervaar je als celebrity een verantwoordelijkheid om je uit te spreken?
Ze veert op: ‘Iedereen heeft die verantwoordelijkheid! Of je nou acteur bent, of niet. Ik ben niet geïnteresseerd in politiek; mijn werk voor de VN is apolitiek. Mij gaat het om rechtvaardigheid, een menswaardig bestaan voor de meest kwetsbaren onder ons. Vrouwenkiesrecht schaadt niemand, maar white supremacy schaadt een heleboel mensen – dat is het grote verschil. Voor mij ligt de oplossing in praten en positief benaderen. Ik ben ervan overtuigd dat we, ondanks alles, vol vertrouwen moeten blijven, bewust van onze waarden en rechten. Als we die niet zomaar krijgen, eisen we ze op.’

KATTENJAREN
Cate is het stralende gezicht van Giorgio Armani’s parfumcollectie Sì, een professionele verwantschap die al heel vroeg begon: ‘Met mijn eerste loonstrook kocht ik een schitterend pak van Armani – ik heb het nog steeds. Ik draag graag mannenkleren. Ik hou ervan om vrouw te zijn binnen een mannelijke esthetiek, een dualiteit die Armani in zijn ontwerpen meesterlijk integreert. Als tiener struinde al ik tweedehandszaken af op zoek naar mooie mannenpakken. De combinatie van een goedgesneden pantalon en colbert is voor mij de meest comfortabele kleding die er bestaat.’
Inmiddels is Giorgio Armani een goede vriend. ‘Regelmatig schrijft hij me om te vertellen wat hij van een specifieke uitvoering of filmrol vindt.’ Per mail? ‘Nee,’ ze schudt fervent het hoofd. ‘Altijd handgeschreven brieven. Mijnheer Armani is een overtuigd brievenschrijver.’

Als je Cate vraagt naar haar kijk op uiterlijke schoonheid, volgt een kort en krachtig antwoord: ‘Ik denk er zo weinig mogelijk over na. Ik ben heel praktisch ingesteld, gebruik al vijftien jaar dezelfde huidverzorging. Ik geloof in de oosterse benadering van schoonheid: in alles wat perfect is, schuilt een imperfectie. Juist de imperfectie maakt een vrouw of man aantrekkelijk. In het westen zijn we zo geobsedeerd door symmetrie, een ideaalbeeld dat niet haalbaar is en, eerlijk gezegd, niet eens mooi.’
Actricejaren, zei ze eens, tellen als kattenjaren; je moet ze vermenigvuldigen met zeven, Cate is inmiddels de honderd gepasseerd. Toch wordt van filmactrices iets als ‘de eeuwige jeugd’ verwacht. Ze knikt: ‘Er ligt in het algemeen veel druk op vrouwen om er jong uit te blijven zien. Voor mannen is dat anders, die worden er minder mee geconfronteerd. Schoonheid draait voor mij in de eerste plaats om presence, aanwezig durven zijn, helemaal. Als je moe ben of gestrest, merk je dat meteen in je uitstraling. Be present. Zorg goed voor jezelf, wees betrokken bij je omgeving en richt je zo weinig mogelijk op wat anderen beschouwen als zogenaamd aantrekkelijk.’

‘Na elke rol denk ik:That’s it, I’m done!’

Volgende week rondt ze de opnames af van Ocean’s Eight, een spin-offvan de Ocean’s Eleven-reeks, met, voor de afwisseling, een voornamelijk vrouwelijke cast. ‘Stephen Soderbergh is een vriend van me en hij kwam met het voorstel: een sidestep van de franchise met Sandra Bullock in de rol van Danny Oceans zus. Ik ben dol op Sandy en toen ik de andere namen van de cast hoorde, wist ik zeker dat ik het project wilde doen.’
Ocean’s Eight wemelt van de krachtige actrices: naast Cate Blanchett en Sandra Bullock doen Helena Bonham Carter, Katie Holmes, Anne Hathaway, Dakota Fanning, Olivia Munn en zelfs Rihanna mee. Cate: ‘Als ik een rol krijg aangeboden, check ik eerst: met wie ga ik werken? Wat wordt de cast? Zou ik de film zelf willen zien? Is hij relevant? Veel later pas, kijk ik naar mijn eigen rol.’

ZO VAAK MOGELIJK JA
Aan elk project gaat voor Cate een proces van wikken en wegen vooraf: ‘Ik neem mezelf niet al te serieus, maar mijn werk wel. Bloedserieus. Elk project vraagt veel commitment, toewijding en tijd. Ik ben een moeder van vier, dus het moet de investering waard zijn, anders kan ik beter thuisblijven bij de kinderen.’
Voor haar rol in Ocean’s Eight moest ze volgens het contract topfit zijn; ze kreeg voor het eerst een personal trainer. Grote ogen: ‘Dat was bruut! Eindelijk begrijp ik hoe het voelt, het is een hel, maar je krijgt er veel energie voor terug.’

Heb je weleens ergens spijt van?
‘Oh,’ ze rolt met haar ogen: ‘I am full of regret! Kleine dingen als vergeten te sporten. Een trainingsschema volhouden is niet makkelijk als je laat thuiskomt en de kinderen in alle vroegte naar school moet brengen. Maar ik ben geen fan van spijt; ik heb een vol leven en er moet al zoveel, ergens wil ik stoom afblazen. Ik zeg: maak fouten, maar maak ze niet opnieuw.’

In haar vijfentwintigjarige carrière heeft Cate prachtrollen vertolkt en daarvoor alle lof ontvangen. Toch denkt ze bij elk project dat het haar laatste is: ‘Na elke rol roep ik: that’s it, I’m done! Ik moet steeds opnieuw verleid worden om te spelen. Luister, er is zo ontzettend veel te doen op de wereld en ik vind het moeilijk om nee te zeggen, dus ik zeg zo vaak mogelijk ja – waarom zou je anders leven?’ —

CATE’S SIDEPROJECTS
Lees er meer over op: unhcr.org en pussyhatproject.com. Filminstallatie Manifesto is te zien op het Holland Festival (3 tot 25 juni) hollandfestival.nl.

Gallery Update: Old Magazine Scans

Gallery Update: Old Magazine Scans

Happy Easter folks!! I’m very happy to share with you a good part of a box sent to me by Denise, the owner of the old cateblanchett.net, one of the oldest and the most updated fan site dedicated to Cate Blanchett (closed in 2008). I wish to thank all the fans around the globe who collected all these magazines in the past 20 years, you are great!! We are are still expanding our gallery, and any of you can contribute by sending us material of giving a donation to maintain the site. Enjoy the new material!!













New interview with Vogue Mexico

New interview with Vogue Mexico

Good morning! One more promotional interview for Sì Rose Signature. Enjoy!



Gallery Links:

Cate Blanchett interviewed by Ohlalá Magazine + new photo for Sì Rose Signature campaign

Cate Blanchett interviewed by Ohlalá Magazine + new photo for Sì Rose Signature campaign

Hi everyone!

Cate Blanchett sat down with Ohlalá magazine from Argentina to talk about female power and the new fragrance Sì Rose Signature by Giorgio Armani. This interview is part of the promotional events in which Cate met with several magazines to promote the new version of Sì during The Present season on Broadway. Also, we have a new image from the photoshoot of this fragrance campaign. Enjoy!

Ohlalá Scans



Gallery Links:

via Boots

If you know of any interviews, magazines, photoshoots we missed, please, let us know. This site is by fans for fans, we always need you help!

Cate Blanchett: “Everyone Gets Obsessed With Anti-Aging” #SKII

One more promotional interview for SK II and a new beautiful photo!

It took Winter Storm Stella to prove what we’ve long suspected:

Cate Blanchett is fucking hardcore.

The acclaimed actress is dressed, glossed, and ready to go at 10 am, despite blizzard conditions shutting down Manhattan. She insists she’ll perform as scheduled in the stage hit The Present, even if half the audience will be stuck home in New Jersey. She gamely talks about politics, Rihanna, and day-old eyeliner as the wind hits 70 mph outside. And she knows a lot about skincare, too, which is good because we’re here for SK-II’s latest launch.

It’s a version of their famous Facial Treatment Essence, decked with flowers and designed for Mother’s Day gifting. Called “Sakura” after Japan’s famous cherry blossom season, the limited-edition bottle hits Sephora this week—just as Blanchett, SK-II’s most famous spokeswoman, wraps her six-month run on Broadway.

We grabbed our sled dogs and mushed uptown for the chance to meet Blanchett in person. (Yes, she looks exactly the same as she does onscreen. Yes, we were nervous. Yes, that means we asked really random questions… Would you have it any other way?)

You’ve played two immortal characters: Galadriel in ‘Lord of the Rings,’ and Hela, the goddess of death, in the upcoming ‘Thor’ movie. Is there a skincare technique you use to look immortal onscreen? Some sort of seriously ageless primer?

Okay, that’s really interesting. An ageless primer… hmm… Well, first I need to give credit to my amazing makeup artist Morag Ross. I’ve worked with her for years, and she’s truly a genius. And I will say that she’s used the SK-II mist to help set my looks, because it’s hydration but not shiny. I can’t stand powder, and feeling dry on my face. This mist, I guess it is sort of an immortal primer, if you want to call it that, because it keeps the glow but also seals my makeup look in. And I’ll tell you that when I first started meeting with the Thor team about Hela, they wanted her to wear a mask the whole time.

No! She’s too cool for that.

Well, Morag and I had gone on YouTube and found all these incredible Hela makeup looks that women all over the world had done, as fans. They showed her face, and they imagined it was sort of necrotized, and it was so powerful. So I said, “Don’t you want to know what she looks like without her mask? Isn’t that more interesting?” And Morag did such an incredible job with the makeup that I think you’ll get to see my the character’s face a lot more.

What does the goddess of death get to wear?

Morag worked a lot with iridescent powders and veins in the face—I mean, she’s the goddess of death. She has to look striking, obviously.

She’s also got some serious after-party eyeliner happening.

Good, that’s what we were going for! I mean, she’s been locked in a closet for millennia.



How do you get makeup like that off, after you’ve been filming for twelve hours straight?

You know, this is a true story: I spoke to SK-II years ago and [requested] an eye makeup remover, exactly because of things like that! And they gave me this oil cleanser, and it’s what I always use on-set and onstage.

This Sakura bottle is meant for Mother’s Day. But how do you give your mother a skincare product without the implication that she needs help in the beauty department?

I mean, my mother asks for it! She’s very happy when I come back from an SK-II press trip. This is the thing: I’ve got friends in their 20’s who use anti-aging facial treatments. I’ve been using mine for over 15 years. Everyone gets obsessed with anti-aging but I’d rather look as good as I can at the age I am. And the thing about the facial treatment essence is there’s no other product like it because it’s about clarity, tone, texture, and what I’ve found is it’s given my skin elasticity. Which is great for anti-aging, but it’s not the only benefit. So if you have someone who’s sensitive about it, maybe just spin it away from aging. Say something like, “This is for you, to make you feel good.” Also, it’s very pretty. The cherry blossoms on the bottle really make it look like a gift, although do you give gifts to yourself?

Of course.

Good, I do, too. I have SK-II products all over my house.

Do they ever go missing, like after you have a party?

You know, I have a friend—she works in the beauty industry—and she lines up scents in her bathroom. So when you go visit her, you can try something new, and I quite like that. So if you want to try one of my products, that’s out in full view, go for it. But if your friends are stealing your beauty products, you might want to get new friends. Or stop having parties where you don’t know everyone.

Have you thrown a rager recently?

It’s been a while. But I do think, also, that there used to be something illicit about a woman’s beauty regimen, where it had to be a “secret,” and so sometimes people would snoop because everyone’s products were behind closed doors. And I’m incredibly open about that stuff. All my friends know what I use. They’re already stocked up.

Can you talk about Ocean’s Eight at all? Did you get to pick pockets like Matt Damon?

Oh, my character doesn’t get to rob people like that. At one point, and I don’t know whether it’s in the movie or not, but I had to learn to ride a motorbike. And I did have to play a lot of poker. That’s what my character does, she plays poker. So I would play all the time with Sandra [Bullock].

Did you win?

I’ve got a really good poker face, to be honest. You just have to blank your eyes. But the bluffing of poker is where the pleasure really is, at least for me. But you know who’s a really good poker player? Ben Affleck. He is world class, as they say. I’m not there yet.

My mom plays poker, and she’s amazing. But she says sometimes people can’t read her, just because they don’t expect a woman at the table…

The idea of women playing poker, they’re not given a lot of credit. People underestimate you. Women have the power to ambush in that situation, and there’s a lot of fun and pleasure in that. But I just wish we had power, full-stop.

We’re fighting for it. We won’t stop.

Yeah, but we’ve been working on it for a couple of Millennia now. It’s been a long time since universal suffrage, and I’m sick of the old white men running the show.

What do you think is the way forward? A strike?

We have to band together, but the thing in this country is that people are terrified of losing their jobs… Maybe California needs to secede. The only thing that’ll make any difference is the money… Tax dollars and losing that amount of money. It’s one of the most economically powerful states, isn’t it? That’s where it hurts.

What about through the arts? Should political stories be given more exposure right now? What can artists do?

You know, I was talking to a theater director who I really rate. He was saying some work is overly political. If you were doing a production of Richard III right now, it wouldn’t be anything but political. But then some work deals with the kind of timeless undertones of being human. And I think it’s really important to embrace both types of work, because culture civilizes us, and that’s why every single despotic regime has tried to smash [the arts]. Because art civilizes us and it connects us and activates us. And so it’s really important to connect with compassion, with stories about people who are different from us. Moonlight is an astonishing film because it’s not overtly political, but it’s human. And that’s why it had such a big trajectory, because in the current climate, things that are true, brave human stories become political.

Many women love music festivals, art openings, ballets… but it’s harder to get some people to go see a play. What’s your advice for theater newbies?

The first thing is to accept that theater is an unknown. If you go to a concert, you know the music. If you go to an art show, you can literally see the art on your phone before you see it in person. But with theater, often times people aren’t prepared to take risks, even though that’s exactly what’s great about it. So go get a rush seat to a play, or get a really cheap ticket through an online promotion or because it’s a smaller theater. The great thing about theater is that when it’s great, you’ll remember it for the rest of your life. But if you go see ten shows, you’ll only get five—if you’re lucky—that’ll give you that experience. But the rest, at the very least, will be interesting. You will not leave the theater with nothing to talk about. For me, comedy and tragedy when you get them both in one evening, that’s the most satisfying. So I’d say, look for that.

Benedict Cumberbatch had to tell audiences to stop filming ‘Hamlet’ on their phones. Do you see smartphones onstage when you’re performing in ‘The Present’?

You do sometimes! I know actors who have stopped the show. I haven’t done that yet, but at the same time, you know, I just don’t understand it. To record something on your iPhone to be watched later, that’s like the opposite of theater. The joy of being there is experiencing it with other people. It doesn’t translate onto your phone. It’s about being present. And I can absolutely see you if you’ve got your phone up. You can’t hide it from us.

Last question: How’s Rihanna as an actress?

Oh, she’s honestly great! She’s really open and humble, and she’s got a great sense of humor. She’s got a really dry wit about her. And she’s really relaxed and natural.

Did she beat you at poker?

She never got to play! Her character is more of a computer person. But if she did start playing poker, I bet she’d be really good at it. Really good.

via Elle Magazine

Cate Blanchett reveals her beauty routine secrets #SKII

Cate Blanchett reveals her beauty routine secrets #SKII

Hi everyone!

Last Tuesday, Sephora released a new photo of Cate promoting SK II. She is currently promoting the SK-II Mother’s Day Limited Edition Facial Treatment Essence. Also, two new promotional interviews with Cate Blanchett for the brand are available. Enjoy the reading!

Cate Blanchett’s Secret to Great Skin? Consistency

It’s not every day that a skin-care company crafts a product made specifically with you in mind. But then again, not everyone is Cate Blanchett. (A sad, but deeply true fact.) The 47-year-old actor, who has been the gorgeous, glow-y face of SK-II for 15 years, and was the inspiration behind the super-luxe Japanese skin-care brand’s recent Mid-Day Essence face spray, is still—if not more—in love with her beloved brand. As she tells Allure, it’s the reason her skin is the way it is today (again: gorgeously glow-y and virtually wrinkle-free), along with keeping a consistent routine, wearing lots of sunscreen, and letting the aging process, well, happen. Here, we’ve highlighted Blanchett’s best advice for obtaining skin like hers, which is, without question, the definition of immaculate.

1. Stay consistent.

How to Minimize the Appearance of Stretch Marks, According to Dermatologists
“I love clothes and the idea of changing your hair and what you’re wearing—but I don’t do that with my skin. It’s a very different thing. I think consistency is a big part of making your skin more resilient. Since I’ve been using SK-II—my skin has taken a lot of beatings being on stage, having four children, working in fil, and traveling—and I feel like it’s a lot more stable. And I can only attribute that to the consistency of using SK-II for a long time.”

2. Wear your sunscreen.

“I’m eternally grateful that my mother always encouraged me to stay out of the sun and wear sunscreen [when I was growing up]. With very pale skin, it was especially important not to become a bronzed sun bunny. I think 90 percent of people who have issues with their skin—health-wise and also in terms of satisfaction with their complexion—are actually talking about sun damage.”

3. Don’t give into the pressure.

“I’m not a model, and I certainly was never the gorgeous girl in school. So I never thought about myself in terms of my looks. My looks have been a tool rather than the end result. They’re part of who I am, but they’re not all of who I am. I feel much more pressure to do my job properly, which is to tell the story and create an interesting character. That’s what I feel the pressure to do—look like the character versus look younger. It’s a high road to nowhere, really. The only thing you can do is look the best you can. The rest is invisible people talking on the internet—and I don’t really listen to that.”

4. Mask away—wherever you are.

“I mask on the plane, but I wait until the lights go off. Although, sometimes I’m so desperate I can’t wait, so I’ll put an eye mask on and the SK-II Facial Treatment Mask. But, up until recently, I was decanting the Facial Treatment Essence into a spray bottle, but now they’ve come out with [the Mid-Day Essence], so I’ll take that on the plane with me.”

5. Take your vitamins.

“I’ve always been big on the vitamins my children take, but I was erratic on my own, so now I’m trying to fix that. That’s my promise to myself this year—I’m going to be much more regular. I’ve just started taking a liquid skin vitamin, called Aethern Advanced Skin Beauty Program. I’ve already noticed my skin is a little brighter.”

6. Don’t give into the pressure.

“I’m not a model, and I certainly was never the gorgeous girl in school. So I never thought about myself in terms of my looks. My looks have been a tool rather than the end result. They’re part of who I am, but they’re not all of who I am. I feel much more pressure to do my job properly, which is to tell the story and create an interesting character. That’s what I feel the pressure to do—look like the character versus look younger. It’s a high road to nowhere, really. The only thing you can do is look the best you can. The rest is invisible people talking on the internet—and I don’t really listen to that.”

Cate Blanchett’s Refreshingly Real Beauty Mantra: ‘Work With What You’ve Got’

There’s age-denying. There’s age-defying. And then there’s Cate Blanchett, the two-time Oscar winner who defines what it means to own your beauty.

“You’re going to get wrinkles. You’re going to get older. I’m married to a man who’s attracted to me — and has been attracted to me over the years,” Blanchett, 47, tells Yahoo Beauty. “I’m fortunate that I’m around people who feel similarly.”

The mother of Ignatius, Dashiell, Roman, and Edith Upton doesn’t sweat all the bells and whistles that come with being famous. When she was eight months pregnant, she was fitted for her Dries van Noten Oscars dress in 2008 in just one quick session — and killed it on the red carpet.

During a BAFTA pre-Oscars event years ago in Hollywood, Blanchett laughingly showed off one of her tattoos — located in a hidden spot. Workwise, she vacillates between stage (co-starring in The Present, written by her husband, Andrew Upton) and screen, where she just wrapped the lady-heavy Ocean’s Eight, co-starring Mindy Kaling and Sandra Bullock.

“I got to work with those fabulous ladies. I was so excited to be working with them. I wasn’t prepared for how much I would be madly in love with them all. It was an amazing experience,” she says.

Her work speaks volumes, but her face tells a whole other story. Blanchett is the spokeswoman for the luxe brand SK-II, a skin care partnership that happened organically more than 15 years ago. Mary Greenwell, Blanchett’s longtime makeup artist, introduced her to the Facial Treatment Essence, which cleared up her skin when Blanchett was going through a rough spell. She’s been swearing by the brand ever since, and is currently promoting the SK-II Mother’s Day Limited Edition Facial Treatment Essence.

“That’s the cornerstone of the whole brand. I started using the product when I was pregnant with my first son, who’s now 15 going on 16. I started to notice changes in my skin. I was getting a bit of melasma,” she says.

She’s referring to patchy skin discoloration that can occur on the face, often during pregnancy. Today, says Blanchett, “My skin is in better condition than when I was in my early 30s. I have a clear, simple morning and evening ritual. I use the essence, and I generally use the LXP Ultimate Revival Serum and LXP Ultimate Revival Cream. I’ve been working with [the brand] officially for about 13 years. I wish I’d discovered it in my 20s.”

Blanchett embodies inner beauty, focusing on the interior, as opposed to the exterior. Aging, she sums up, is going to happen anyway, so why shun it? “You can’t run from it. There’s a level of scrutiny around the way women look, and it’s really unhelpful. Everyone will have a different relationship to their looks.”

She obliquely refers to plastic surgery and her aversion to it: “I didn’t grow up in an environment where the older women did that stuff. It doesn’t sit comfortably with me. Work with what you’ve got. Otherwise, no matter how much you try and change yourself, if you feel panicked, it will radiate through. I wear less makeup now than I did in my 20s. I stay out of the sun.”

Yes, but she’s also down for a libation when life calls for it. “One always looks better when you don’t drink coffee or when you’ve done a detox. Life is stressful, and sometimes it’s easier to have one glass of wine than do eight yoga classes. Life is never perfect. You have to do the best you can,” says Blanchett.

She’s passing the same lesson along to her daughter, Edith. “Maybe it’s because I’ve had three boys. I wasn’t done having children. I kept all the boys’ clothes. So she’s wearing the boys’ clothes. Once again, that’s how I grew up. I grew up just being. It doesn’t matter what she wears. It’s about who she is, not what she looks like.”

via Allure & Yahoo Beauty

Entertainment Weekly – March 17th – Digital Scans

Entertainment Weekly – March 17th – Digital Scans

I added digital scans from the March 17th Issue of Entertainment Weekly, which features Thor: Ragnarok, just click a thumb to view all the scans. Enjoy!



Vanity Fair Italy Digital Scans

Vanity Fair Italy Digital Scans

Cate is featured on the March 15th issue of Vanity Fair Italy where she talks The Present and Sì. Here are digital scans:



Thor: Ragnarok: Meet Cate Blanchett’s Hela, the franchise’s first female villain

New interview with Cate for Entertainment Weekly! Enjoy!

Cate Blanchett doesn’t really feel like she needs to explain her character Hela in Thor: Ragnarok — she’s the Goddess of Death. Quips the actress, “I think that’s where you put the period in the sentence, right? She arrives with a lot of baggage. She’s a little bit cross.”

Hela is more than “a little bit cross” as she is freed from her prison early in Ragnarok and causes all sorts of chaos befitting her name. “She’s been locked away for millennia, getting more and more cross, and then, with a mistake, she get unleashed and she ain’t getting back in that box,” says Blanchett.

Hela may be a monster, but Blanchett is a delight and clearly had a blast tapping into her dark side. EW talked to the two time Oscar-winner about playing Thor’s first female villain and making weapons out of her body.

ENTERTAINMENT WEEKLY: What made you want to be part of this?
CATE BLANCHETT: Well let’s face it: as a woman, these opportunities have not in the past come up very frequently and I think there’s a revolution happening from within Marvel. I’ve seen so many of the Marvel franchises, particularly being the mother of four. They tend to be the only type of film particularly having young boys. But for me as an actor, this is separate is my desire to work with [director] Taika Waititi.

How did he sell you on this?
Well I had seen his vampire movie [What We Do in the Shadows] and Hunt for the Wilderpeople. I was trying to get my head around the collision of his sensibility as a director and what had previously existed in the Thor franchise and I thought that’s going to be interesting to say the least and I thought it could produce an interesting combustible connection because tonally his work is so different from what previously existed. Obviously they wanted to do something fresh and different, which is always exciting.

What was it like working with Taika? What does he bring to this?
He’s sort of part sumo wrestler, part showgirl, part father you always wanted to have. He’s so nimble. I keep saying the word irreverent. He takes the work seriously but he doesn’t take himself seriously. So there’s music on set the whole time. There was hilarity but he knew every single time when to focus.

Your Thor’s first female villain. Was that part of the appeal?
Can you believe it? Can you believe we’re having this conversation and it’s 2017 and we’re talking about the first female villain? It’s ridiculous. There’s so much untapped potential villainy in women. It’s really exciting. I think finally it’s beginning to be acknowledged that women and men want to see a diverse array of characters, and that’s race, gender across the sexual spectrum.

Did you go back and read the comics and look at old versions of Hela?
Oh yes. I mean, you gotta know the history of the character. And there are so many iterations of the origin story. For any of these characters, there’s never one origin story. But yes, it was really interesting to go back. Most of the time she was masked. So that’s what I really talked to the Marvel team and Taika about was when we would chose to have her masked and when she wouldn’t be masked.

And that headdress is more than just an accessory right?
Yeah. She’s able to manifest weapons. Her headdress can be weapons. She can manifest weapons out of different parts of her body. I won’t tell you which — I’ll leave that hanging.

Hela comes in and sort of takes control of Asgard away from Loki, right?
Well, Asgard is so good. I mean one only need to have a mildly unpleasant thought and you’re considered evil. Everyone is too perfect. Why not mess it all up? It’s easy to play bad but, like when I was in Cinderella, like what makes the stepmother evil is interesting. So, it was trying to in the screen time I had to tease that stuff and to give her a journey really. So hopefully we’re given her a journey, like how you understand why Loki is as screwed up as he is. Hopefully, there’s that satisfaction in watching Hela.

Do you have fight scenes?
There’s a bit of wire work. I worked with the legend Zoe Bell (Grindhouse). I did as much as was humanly possible for a middle-aged mother of four [laughs]. I learned so much. All sorts of capoeira stuff. All the stunts and the fights were really interestingly choreographed. But I did train, ostensibly, so I wouldn’t injure myself.

via EW

Cate Blanchett Doesn’t Need to Be the Star of the Show

Hello everybody! New interview for Vanity Fair!

The Oscar-winner on her Broadway debut in The Present—and which Shakespearean role she yearns to tackle


When she isn’t delighting late-night revelers with surprise performances at drag shows, Cate Blanchett is spending her time in New York on the Broadway stage. Currently one of the stars of The Present—a reworking of an infrequently produced early Anton Chekhov play about a rather disastrous birthday party, adapted by Blanchett’s husband, Andrew Upton—Blanchett took a break from her hectic schedule to talk with us about the play, and how she views her role in such productions. Blanchett says she’s much happier being a member of the ensemble—even if, sure, her specific role in The Present maybe got a little plumping.

“It’s not a great role in the original writing. It’s very peripheral,” Blanchett told us over the phone. “Andrew has set her given circumstances, for want of a better phrase, as the framework for the play, in which everyone combusts and decomposes and hopefully emerges crisp and more phoenix-like. For me, in the end, the role is always secondary, whether it’s working on-stage or on-screen. It’s about the people you’re working with. I was drawn to the possibility of doing this in Sydney, and then ultimately [to] the opportunity of performing it [in New York], as a way of exposing the actors that we work with, the designers that we work with, the creative teams that we work with at the [Sydney Theatre Company] to an international audience.”



Blanchett and Upton ran the Sydney Theatre Company together for five years, staging acclaimed productions in Australia and then touring them around the world. It was a demanding job, one that Blanchett says she misses in some respects—but not in others. “We’re very private people. But [when you’re] running such a public organization, you need to weigh in to the national conversation. There’s a great responsibility as a cultural advocate that means that one has to be very public. And so I don’t miss that.”

Still, Blanchett seems to be enjoying her time treading the boards in New York again, making her Broadway debut after taking other shows to the Brooklyn Academy of Music and Lincoln Center. Blanchett is one of a small handful of movie stars who regularly does theater—Jake Gyllenhaal, currently starring in a swoon-worthy Sunday in the Park with George revival a few blocks north of Blanchett, is another one—but Blanchett doesn’t have any sort of ratio or equation in mind when accepting a film role versus a theater role. “There’s never really a plan,” she told us. “Except to do the work that I feel I can do. Sometimes it’s stuff where you can see an opportunity to do something, or to work with a director. Anthony Minghella on Talented Mr. Ripley. Lasse Hallström in The Shipping News. [Those roles] were very colorful characters, but I was working with two directors that I really wanted to work with, and on material that was the antithesis of the job that I’d just done. I could see an opportunity there. So often it’s been something that other people turned down!”

Are there any specific theater roles that Blanchett would carve out time for? “I wouldn’t mind a crack at Richard III,” Blanchett told us. (Someone please make this happen.) “But it depends on the director. There are plays that I would love to be part of realizing, but in the end, there’s no point playing Hamlet or Medea or Richard III or whatever the role is—or one yet to be written—unless you’re in something that is whole. Hamlet doesn’t make sense if Claudius and Gertrude aren’t present and completely enmeshed in the fabric of the piece, and therefore the production doesn’t work. I’m more interested in productions that have a chance to connect with the audience than how many lines I’ve got or how much stage time I have. I couldn’t be less interested. I don’t want to sound too pretentious about it, but I consider myself, no matter what the role is, an ensemble member.”

Blanchett will be an ensemble member in next year’s Ocean’s 8, a spin-off/continuation of the popular Ocean’s franchise, which she filmed on Mondays when not performing on-stage. But for now, there is just, quite fittingly, The Present, which runs on Broadway through March 19.

via Vanity Fair

The One Beauty Look That Cate Blanchett Wishes She Never Tried

Hey everyone!

New promotional interview with Cate for Sì Signature by Giorgio Armani. Enjoy!

Cate Blanchett has been topping our best-dressed lists for years—and quite frankly, it’d be a challenge to find a photo of the Oscar-winning actress where she doesn’t look downright gorgeous. But while it may be hard for us mere mortals to believe that the 47-year-old star—who’s currently starring in The Present on Broadway—could do any wrong in the beauty department, she insists that she’s had her fair share of missteps throughout her successful career. We caught up with Blanchett last week while celebrating the launch of Giorgio Armani’s new Si Rose Signature fragrance (she’s the face of the collection) and asked her to spill on her biggest beauty regrets to date. And much like her red carpet appearances, her answers didn’t disappoint.

“I don’t like an overly-plucked eyebrow, and I did that for a role once,” said Blanchett. “It was terrible, and it took forever to come back in.” While the thin eyebrow debacle may top her list of beauty blunders, it was only one of many times that Blanchett altered her appearance for a project and later faced the rather unpleasant reprecussions. “When I played Queen Elizabeth, I shaved my hairline—and that was a challenge when it grew back in,” she said of the dramatic look.

“For another role, I once shaved my whole head,” Blanchett continued. “I actually loved having my hair super short, but in the initial stages of growing it back in, I looked like a tennis ball. It’s the midway point that’s always really difficult—that’s when you have the regrets.”

Other than Blanchett’s past faux pas, we asked the star to spill on her current beauty faves, from her fragrance preferences to the skincare treatment that keeps her skin looking Broadway-ready every night. Scroll down for our full chat.

InStyle: When you’re choosing a scent to wear, what would you say immediately attracts you to the right one?
Cate Blanchett: For me, it’s always a very sensual and private connection. I think it bypasses your intellect and goes straight to your emotions, in a way. I’m always drawn to scents either that have a citrus note or have that base of a chypre in it, which Si obviously has, because I think they have a kind of mystery to them and that deep sensuality which I’m really attracted to.

The latest scent in the Si collection has strong notes of rose, which is where the fragrance gets its name. Are roses your favorite flower, personally?

Definitely one of them, for sure. Roses are so diverse—when you hear that a fragrance has rose in it, you think ‘Oh my goodness, it’s gonna be so sweet.’ But the surprising thing about this iteration of the Si family of fragrances is that one rose has a grassy note to it and the other has an almost spicy quality, and so it has a rose sort of aspect to the fragrance, but it’s not sweet. It’s deeper than that.

Do roses remind you of anything in particular?
Well, I always think of Alice in Wonderland. You know when you smell roses and they’re very powdery or they’re very grassy? Also I just love the texture of a rose. They’re so beautiful in all states: They’re beautiful when they’re buds, they’re beautiful as they’re opening, they’re beautiful as they’re at their perfection, at the high point of the flowering, and they’re even increcdibly beautiful as they decline. They’re just a beautiful flower to have either in a vase or in the garden.

What’s your general guideline for applying a fragrance—is there any such thing as too many spritzes?
I apply it constantly, and certainly at all the pulse points. I always keep a moisturizer in my bag and a bottle of fragrance, because you never know where you’re going to end up during the day. People often think wearing a fragrance is something you’re doing for other people, but it’s very personal to yourself. If it’s on the pulse points, then you can smell it, as well. It’s a very uplifting, mood enhancing thing to do.

So is it safe to say that it’s one of your favorite beauty rituals?
It’s interesting that people say it’s a “beauty ritual,” because I don’t see this as having to do with beauty. I think it has more to do with your emotional space—space that’s personal. I have very little time in my life, so any thing to do with beauty is very economical. I’ve been using the same skincare line for…god, probably going on sixteen years now. It’s kind of just like I don’t even have to think about it. And I don’t wear a lot of makeup day-to-day unless I’m onstage.

Which skincare product is your go-to?
I always have SK-II Facial Treatment Essence in my bag. You can spray it on during the day, and it’s unscented so it doesn’t obstruct anything you put on. Often, I find that skincare products are highly perfumed. I like something that does the job, but is more neutral than that.

You’re currently starring in The Present on Broadway. What has your approach been for the role, beauty-wise?
It’s a pretty natural look, but it could be a bit brutal onstage because you’re constantly taking makeup on and off. It’s really so important to cleanse your face properly, and I’ve been having a few oxygen facials.

via InStyle

Voice Enhancer – New promotional interview for Sì

Voice Enhancer – New promotional interview for Sì

Hello people! A new promotional interiew to promote The Present and Sì Rose Signature


Cate Blanchett can be forgiven for not knowing that Drew Barrymore wants to eat her.

The two-time Oscar winning actress is currently appearing on Broadway in an adaptation of Chekhov’s “The Present,” and her schedule is punishing. The actress has nine performances weekly, each clocking in at almost three hours, which doesn’t leave much time to catch E News, where Barrymore, promoting her new Netflix series about a suburban mom who becomes a cannibal, proclaimed Blanchett to be the person she’d most like to eat “because she’s like the most amazing woman ever.”

Blanchett laughs a deep throaty laugh when she hears the story, and immediately gives the love right back. “She’s an angel, a very talented angel.” But the actress — who today is conducting interviews with international beauty editors in her role as the face of Giorgio Armani’s Si fragrance before heading to the theater for her evening performance — has been avidly following the political news during her time in New York.

In January, for example, she joined the The Ghostlight Project’s protest march on Broadway, wearing a pink knit “pussy” hat, and while she couldn’t attend the Women’s March on Washington because of her performance schedule (“I was there in spirit,” she says), she hasn’t been reticent about speaking her mind.

“When Elizabeth Warren is told that she can not speak in the Senate, they are dark days,” says Blanchett. “I don’t know what century I’m in. I thought that the equal pay for equal work conversation was boring and reactionary enough, but this is deeply shocking. We have the choice now to evolve as a species and part of that is finally getting rid of the shocking inequalities that exist not only between the genders but the wealth divide.”

Blanchett’s relationship with Armani has been a longstanding one — she likes to tell the story of running out to buy an Armani suit after getting her first acting paycheck and is quick to note that she still owns it (“his clothes don’t date”) — due in part to his espousal of gender equality. “He was one of the first designers to really unlock the complexity of the female aesthetic. He liberated women from the need to wear traditionally feminine clothes or traditionally sexy clothes,” says Blanchett. “There is a kind of Eastern simplicity, and also an Eastern mélange of the opposites that exist in his designs — you’ve got the masculine with the feminine and the soft with the hard.

“He is interested in all of those dualities,” she continues, “and when he was creating Si he wanted all of those complexities and dualities to exist.” It is a message that has resonated. Industry sources estimate that Si, which is currently launching its second flanker called Rose Signature, has reached retail sales of $80 million in the U.S. since launching in 2014.

Sitting in the Presidential Suite on the 53rd floor of the Mandarin Oriental Hotel, Blanchett, wearing a navy Armani trouser suit, has a commanding view of New York City and Central Park. When asked if she’s enjoyed working in New York, she gives a brief hesitation. “It’s very confronting at the moment, for sure, but it’s a great city,” she says.

While she’s performed in New York before, “The Present” marks her Broadway debut. As for what’s next to tick off on the bucket list? Blanchett reels off a list of directors she’d like to work with, including Thomas Ostermeier, Julian Rosefeldt (who directed her in the one-woman multiscreen film installation, “Manifesto”) and Andrea Arnold. “And I’d also like to finally get some chickens in my chicken coop,” she adds. “So there is a lot to do.”

via WWD

New photo of Cate Blanchett for Vogue Magazine #TheRow

New photo of Cate Blanchett for Vogue Magazine #TheRow

Cate Blanchett appears wearing The Row, the brand owned by Mary-Kate & Ashley Olsen, in a new photoshoot for Vogue Magazine. See the article and the photo by Annie Leibovitz below.

Cate Blanchett wearing The Row - Vogue Magazine

15 Iconic Female Designers on Where Fashion—and the World—Are Going

One feels luxuriously dressed in a calm, pure, and minimal way,” says Cate Blanchett, serene and soigné in a cashmere blanket coat from the label she’s lauding: The Row. Like Blanchett herself, The Row is synonymous with quality and a kind of independent synergy. Of course, she’s hardly the only fan: Mary-Kate and Ashley Olsen’s customers are helping the eleven-year-old label claim the mantle of the wardrobe of our time in the same way that Donna Karan defined New York women’s essentials in the nineties.
Behind their international success, Mary-Kate and Ashley have always worked privately and mindfully, showing beautiful clothes their way, sans spectacle. In fact, they loathe fuss. But how did two former child stars—who just turned 30 this past June—become such connoisseurs of so many different women’s wardrobes? The twins are as succinct in their response as they are in their designs: “Continuity,” says Mary-Kate. “We are a trustworthy brand that really sells exactly what we say we’re selling.” Adds Ashley: “The only people we feel we need to answer to are our clients.”
They attribute their perfectionist resolve to having been given a voice at a very young age and having sat in many meetings with heads of the entertainment and finance industries, allowing both of them to hone their ability to decipher “the good influences versus the bad influences,” as Ashley puts it, while staying focused. “We own our brand. We don’t get pushed in any direction.”
With the exception of a few Italian knits, they manufacture all of their ready-to-wear in the United States. “That means a lot,” Mary-Kate says. “We’ve created at least 80 jobs.” Their elegant designs, by their very nature, challenge fast fashion.
As it turns out, the Olsens were ahead of their time in more than just style. In their April 2001 issue of Mary-Kate and Ashley magazine, they predicted Hillary Clinton’s presidential campaign as part of a feature devoted to the question “When will we get our first female president, and who might it be?” Sixteen years later, their designs defy age and—even though they have just launched menswear—gender. “It’s more about respecting one another, whether you’re a female or a male or whatever,” says Mary-Kate. With the Women’s March on Washington then around the corner, she adds, “Women are not the only ones that feel this way—a lot of people feel it. The atmosphere around the entire globe is very interesting right now.”
“What’s going to happen tomorrow? Collectively, I feel everyone is asking that,” says Ashley, who’s made a positive attitude her goal of the year. “What we’ve built so far is pretty incredible. I would like to push that further—but also to be a little lighter on ourselves.”—Emma Elwick-Bates

via Vogue Magazine

Gallery Links:

Six Questions for Cate Blanchett

Six Questions for Cate Blanchett

Hello everyone! New interview with Cate for T Magazine/ The New York Times Style Magazine and a new image from the campaign’s set. Enjoy!

Cate Blanchett for Sì Rose Signature Limited Edition 2017

The title of “The Present,” now playing on Broadway, is a clever one. The play takes place at a summer house in Russia on the occasion of a 40th birthday, and there are a few physical gifts in play — notably, a chess set and an antique gun. (The play is a Chekhov adaptation, so yes, both get used before the final curtain falls.) But it’s also concerned with the specters raised by “the present” as a concept, particularly in a group of friends with years of history between them: How does the past of each relationship impact how we might feel about it now? How much can we ever depend on the future?

The linchpin of the proceedings is the birthday girl, Anna, played by Cate Blanchett with wit, grace and physical deftness. She spends much of the play’s first half smiling in amusement, resolutely unruffled by the impassioned meltdowns of those around her, and much of its second half shouting and seducing and dancing on tables. During a busy time for Blanchett — in addition to the three-hour run of the play each night, she’s also the face of Armani’s Sì fragrance, which launches a new iteration of its Rose Signature scent next month — she answered a few questions for T.

When watching “The Present,” we get the impression that all of these characters are entrenched in ways of relating to each other, which then transform or explode as the play goes on. How did that back story take shape for you?

I think you’re absolutely right. The characters all want things from each other that they can’t deliver on; they’re all in love with the wrong person at the wrong time. A 40th birthday with a lot of alcohol and unresolved lust and longing is a very combustible set of circumstances. It was really exciting to work with people that I’ve worked with for a long time on this, because in Chekhov, not a lot happens, but everything happens. It’s all about time spent with each other.

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You’ve spent a long time with Anna by now — you were playing her when you were interviewed for an August 2015 T cover story. Are you still discovering new things about her and about this story as you continue to play it?

When you work with really playful, inventive, intelligent actors who are very open, as I’m having the great good fortune to do right now, I think it constantly opens up; and if the work is rich and deep, it’s a joy to return to it. We first performed it about 18 months ago, and then we had a hiatus and people went off and did other things, and then we came back together. We sort of collided with the past experience, but took it somewhere — not different, but somewhere deeper.

I don’t know if you’ve ever had that experience of driving home, and the route is exactly the same, but you’re preoccupied with something different, so you forget how you got here. On a good night, that’s the experience you have in the theater. People are always saying, “Oh, my god, it must be so tiring to do the same thing every night.” It’s the same journey, but you arrive there slightly differently depending on what other people do.

And also, I must say, performing to an American audience right now in the wake of the inauguration of the current administration, there’s whole layers of meaning — of moral compromise and uncertainty of the future and what is right, what is wrong — that have always been in the play, but because the audience brings that to bear, it’s shifted the play slightly, which has been really interesting.

How, as an actress, have you seen that borne out when you’re playing the part? Is it just a feeling in the air, is it that laugh lines are slightly different…?

As an actor on stage, the audience often thinks that they’re there to be entertained, but they’re a vital, active component of the evening. It’s not about laughter, necessarily; it’s quality of listening. Broadway audiences are so literate: They love theater, they love being told stories, they love a surprise. And that, coupled with the current — it’s not even a political climate, it’s like a moral climate — has meant that the play’s been attended to in a slightly different way.

I think we’re all so hyperaware of our relationships to the truth right now, and to our sense of objectivity, in every interaction we have throughout a day.

Language is incredibly powerful: the words we choose to use, and how we choose to use them. I remember ages ago, the word “evil” was purloined, and it’s been very bewildering to me watching the word “refugee” morph into the word “immigrant” morph into the word “terrorist” within the space of nine months. “Truth” is an immutable word: Something is true or it is not. Theater, actually, its currency is language.

You mentioned the inherent drama of a 40th birthday party that collects people from different stages in someone’s life. Do you think there’s anything specific about that time of life that is more likely to give rise to dramatic situations?

It’s very built up, that moment in a person’s life, the 40th. And I think for her, it’s compounded with the need or desire to move on and to take stock of where she’s at; and take what is useful and valuable and worthwhile from the past, and jettison that which is not as she moves into the future. There’s certain points in one’s life where one takes stock, and I think in an archetypical way, turning 40 is often that moment, but for many people it’s not. For many people it’s their mid-40s or their 50s or their 60s. It depends on the degree of maturation, I think, and self-awareness that the person has.

You’ve been a brand ambassador for Armani for some time — what were your first impressions of the new Sì fragrance? Are there any memories or emotions it evokes for you?

I think there’s a definite optimism in calling a fragrance Sì at the moment, particularly a female scent. We have to be positive and forward-looking, and we have to say yes to those things we believe in and yes to ourselves. When Mr. Armani spoke to me about being the face of the fragrance, I had no idea there were going to be so many iterations. I love a fragrance that has those deeper woody notes that develop so beautifully — but this has got a double rose. Normally, I’m not a fan of rose, but because the rose is green, and there’s a Turkish rose in there, which has a hint of orange to it, it’s actually really beautiful. It’s humorous and optimistic, which I think is a good way to start the day.

This interview has been edited and condensed.

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