Category: Interviews

New magazines scans and interviews with Cate Blanchett

New magazines scans and interviews with Cate Blanchett

Hello Blanchetters!

We have added four new magazines to the gallery. The last two are pretty recent, do give them a read.

Io Donna Italy – December 21st, 2019

Harper’s Bazaar Taiwan – February 2020

S Moda – El Pais – March 22nd, 2020

Aventura Magazine – April 2020

A brand new interview promoting Mrs. America has been released today, read it below (Cate also talks about Nightmare Alley)

Mrs. America: Interview with Star and Producer Cate Blanchett

Interview with Blanchett
Career Vs. Home

Cate Blanchett: Gloria Steinem said something fascinating, that she has yet to hear a man ask her advice on how to combine marriage and a career. And here we are in 2020, and we are still asking those same questions that my male counterparts just do not get asked. That is one of the reasons why I wanted to make a series because I feel in a way that each day that went past us as we were filming, the show became increasingly relevant, because the language around how we discuss these women in the world, whether we spend our time primarily in the home or whether we try and work in the workforce and also have a family or whether we devote ourselves entirely to our career or any combination thereof, there is still a sense that we alone have to make this work and that if we fail it is our responsibility. I think there’s something wrong with that system and I don’t think anything has really changed in the conversation around that since 1971, which is when our series starts.

Phyllis Schlafly
CB: I had tangentially heard about her. I had seen this little old lady, in her late 90s, being trucked out at the tail end of Trump’s campaign. And there was a standing ovation for her, and she seemed to be very, very important and treated with profound respect by members of the Republican Party. And I found out that that person was Phyllis Schlafly. And then I saw Trump attending her funeral, and I thought who is this woman? And parallel to that, I had met with Stacey Sher and Dahvi Waller to talk about this project. And I like you, I didn’t know much about her at all, but I wondered about why she was so internally important to the Republican Party but yet not so widely known outside of circles. And I think it’s partly because her influence has been so absorbed by the Republican Party. I mean a lot of her achievements, whether you call them achievements, some people will say they are dubious achievements, but achievements nonetheless, is that she has a past on preventing the ERA from being modified, she has quite, singlehandedly I think, embedded into the spine of the Republican Party, the notion of pro-life, pro-family and being pro-American.
All of that discourse came out of Phyllis Schlafly’s activities in the 70s and the early 80s. And I think that what has happened is her achievements has been absorbed by the Republican Party, whereas I think there’s been quite a lot of public rejection of second wave feminism that those women had their own identity. Whereas Phyllis, from my point of view, I didn’t know much about her outside her circle, so it was a really journey for me and one of the primary reasons that I wanted to make the series was to understand what was so terrifying and abhorrent that Phyllis Schlafly and the people who were like minded around her, what was so terrifying about the notion of equality and that was the reason I wanted to make it.

Show’s Relevancy
CB: First and foremost, it’s an irreverent human drama, and it speaks to a point in history, but one that we haven’t learned that much from. And so I feel that the conversations and the dialectic and the drama that people experience in the series is very, very current. There were so many times when I would turn to the other actors and say oh my God, haven’t you had this conversation at home or don’t you feel like you are back in 2019? And we are saying we are in 1974, what’s changed?
It is interesting that back in 2001, they did a survey in America, and it was revealed that 72 percent of Americans already believed that the Constitution had specified that all citizens have equal rights irrespective of their gender. And I think that all of us believe that is a foundational given in the American Constitution. But the fact is it’s not, and the fact that it isn’t, means that we are doomed to repeat the same mistakes in our legislation, because the Constitution is an inspirational document from which laws spring. And so I feel like our situation as women, but also men and people of various different sexual and gender identifications and people who live on the fringes, still can’t walk into a space and say I am equal because the Constitution, which inspires us to be better people, doesn’t say it’s so. I think that really very little has changed. So I think it’s very, it would be quite shocking to an audiences watch the series and feel like at once they are back in the 1970s, but totally in the time in which we are living right now. Because the show is really a reverse engineering process of how did we get to where we are?

Raised by Single Parent
CB: In my high school years, there was a big question whether you identified as a feminist or not. And it was just, I was raised by a single parent, a mother, and my grandmother was in the house, which was great, but my mother had to work. My mother didn’t really identify as a feminist. There was the notion that if you were feminist, you were anti-family. And that of course we all understand that the family is the basic building block of society and the totalitarian regime trying to destroy this and competing loyalties and the main loyalty always has to be in this state. And so feminism was anti-American, anti-family. And my mother kind of grew up with that sensibility, so even though she was a single, working parent, with all of the challenges that that entails, I, her daughter, identified as the feminist, but she didn’t. And so there was a stigma around identifying as being a self-actualized woman who felt like they could achieve anything in line with their male counterparts. And I didn’t understand the problem, but I do realize in retrospect that there was a real stigma that came off the women’s liberation movement because of its branding. And because also, in a way, the interesting thing was that it was women themselves who helped kill the notion of equal rights. And I think that influenced the way future generations of women picked it up.

Explaining to her Children
CB: You can say it’s enlightened, but Phyllis Schlafly would say that there was a dogma to feminism, because they were trying to sort of enforce change. And I think in a way one leads by example and if you, I have always tried to tell my boys that my situation and having the ability to work or not work is not the case for all women. And they do understand that, they see other parents at their school and they encounter kind of stereotypical language say in a way say they naturally parody it, because they think it’s ill informed. But I don’t think that they are aggressive about it, because I think if we have learned anything by the second wave of feminism and the fights around the ERA, it’s that fear based language and polarizing discussions and attacks, don’t really progress the conversation at all. And I think that one of the profound things that the series shows and I hope my boys can see, is that there’s a lot of connective tissue between the desires of traditional women and women who are in the feminist camp, that there is a lot more that unites us and separates us. And that what happened in the 1970s was this profound schism happened between women of different ambitions. And I am hoping in a way that “Mrs. America” will be a place where a conversation can be re-ignited around the points of intersections rather than the points of division.

Living in England
CB: We are in the country where we live, but yes, we are self-isolating like everybody and it’s very difficult. We are all in it together and some of us are in more perilous positions than others but I think what is revealing to all of us is that viruses don’t recognize international borders and this notion of nation building is a bit spurious really in the wake of a pandemic. It’s also revealing something which we need to do something about as we emerge which is the systems we are living in are very fragile, and it’s pointing out the cracks in those systems. We need to work together with our governments to make sure those systems are fixed so that their citizens are very well served should this happen again. But I am in awe of the people who are, I was just talking to a friend in Queensland and the nurses and doctors on the front lines there and it’s terrifying for them, they have got children of their own and families of their own but they are so committed and I have profound respect and empathy for the position that they are in and gratitude for their service.

Working with Del Toro on Nightmare Alley
CB: Guillermo del Toro and I had been talking for years about working together and we had actually been developing a TV series together and for one reason or another, that didn’t happen. And so when “Nightmare Alley” came up I just jumped at the opportunity. And I learned so much from him, as a filmmaker, as a director, he is so generous and transparent about the way he, and clear, about the way he puts the thing together. And there’s no Svengali about him, even though he is a Svengali. He’s so generous about all of the information and he is completely, I warmed to him because Australian filmmaking is by and large, is non-hierarchal, comparatively I think to a lot of other filmmaking processes. And he is non-hierarchal, such profound respect for every member of every department. It was a really warm and inclusive set, but he’s also very muscular as a filmmaker. It was absolutely brilliant, and my filming has completed on that.


Stateless (un)official account will publish tomorrow at lunch time (Australia) a series of Q&A with Cate on their Instagram’s stories here

Harper’s Bazaar UK December Issue (plus recent magazines and photoshoots)

Harper’s Bazaar UK December Issue (plus recent magazines and photoshoots)

Hello Blanchetters!

We have collected all the recent magazines where Cate was featured into and the recent photoshoots she posed for.

Startig from her most recent cover for Harper’s Bazaar UK celebrating the Women of the Year, where she posed for the talented Tom Munro (the man behind many Armani Beauty campaings) we go backward till July collecting magazines and pictures related to Where’d You Go Bernadette promotion and other events. If we missed anything, please let us know. Enjoy!


InStyle – July 2019

7 Jours France – August 23rd, 2019

Madame Le Figaro France – August 30th, 2019

InStyle Russia – October 2019

Sussex Life UK – October 2019

Vogue Russia – October 2019

Cine Premiere Mexico – October 2019

Newsweek International – September 6th, 2019

Io Donna Italy – September 7th, 2019

Vanity Fair Italy – September 18th, 2019

F Magazine Italy – October 4th, 2019


We are looking for collaborators (maybe with some help we can try to post stuff on time ;)), please contact us using the chat, mail, or social media.

Where’d You Go Bernadette – Talk Shows and Press Junket Interviews

Where’d You Go Bernadette – Talk Shows and Press Junket Interviews

Hello dear Blanchetters!

We are still catching up on the past week. After evvents, we now have three talk shows (in four times) and a new series of press junket interviews. Some of these interviews may be double, it depends on who posted them. Enjoy!

Fox News

Bay News

The Scary Mommy Confessional with Cate Blanchett

Cate Blanchett reading Scary Mommy confessions is your new favorite thing.Where’d You Go, Bernadette is in theaters today!

Posted by Scary Mommy on Friday, August 16, 2019

The Scary Mommy – Podcast

Various Interviews and Magazine Scans

Various Interviews and Magazine Scans

Hello Blanchetters!
We have collected some interviews (not recent) and magazines scans (more recent) about Armani’s Sì Fiori, Bernadette and more. Enjoy!


Cate Blanchett is ‘het gezicht van’ Giorgio Armani parfums maar wil liever zo niet genoemd worden. De getalenteerde actrice is immers zoveel meer dan dat. Wij ontmoetten de tweevoudige Oscarwinnares tijdens een exclusief onderonsje in Londen.

Naar onze bescheiden mening is het nogal lullig om iemand ‘fifty and fabulous’ te noemen. Het is een label dat halve eeuwelingen die zich gewillig in een te korte jurk hijsen en met ‘de girls’ in de bubbels vliegen zich graag op de borst spelden. Cate Blanchett, tweevoudig Oscarwinnares, VN Goodwill-ambassadrice en moeder van vier viert deze maand haar vijftigste verjaardag. Dat maakt haar fifty, en we kunnen er niet onderuit: ook ‘fabulous’. Ik mag het aan den lijve ondervinden tijdens een bezoekje aan haar suite in een Londens hotel. Nog voor de veiligheidsagent de deur van de suite achter me sluit, veert Cate al op uit de canapé om me de hand te schudden. Haar ijsblauwe ogen haken zich vast in de mijne en het kost me een paar seconden om te bekomen. Ze is een charismatische verschijning op de rode loper – en al helemaal als ze in een knalrood broekpak voor je neus staat.

Een ster van haar kaliber interviewen is niet altijd een pretje. Hoe hoger aan het firmament, hoe moeilijker het vaak is om publiceerbare antwoorden te krijgen. Niet zo bij Blanchett. Ze blijkt één brok professionalisme en heeft niet de minste moeite om het die dag nog maar eens te hebben over Sì Fiori – de nieuwste telg uit de Sì-familie van Giorgio Armani. Maar niet zonder eerst een complimentje te geven. “Wat een geweldige tas!”, zegt ze met een blik op de handtas aan mijn arm.

Aangezien hij ook werkelijk ‘amazing’ is, kunnen we aannemen dat de Australische actrice enkel welgemeende complimenten geeft. Tegenwoordig woont ze samen met haar gezin op een landgoed in East Sussex, maar de geuren van de heimat down under blijven in het geheugen gegrift. “Eucalyptus, de geur van theebomen maar helaas ook die van bosbranden. Je kan de wereld rondreizen maar sommige geuren zijn voor eeuwig aan thuis gelinkt.”

Blanchett verpersoonlijkt sinds 2013 de Sì-parfums. “Ze noemen me wel eens het ‘gezicht van’, maar zelf vind ik eerder dat ik de ‘spirit’ van de geuren vertegenwoordig.” Met Sì Fiori kreeg de familie er dit jaar een derde lid bij. “Een sensuele geursensatie die opgebouwd is rond een hedendaagse chypre, een mix van houtige akkoorden. Er is een onderliggende, vrouwelijke toon die ik als gesofisticeerd zou omschrijven. Toch blijft het geheel fun”, aldus Blanchett. Zelf draagt ze de geur met topnoot van groene mandarijn het liefst wanneer de avond valt. “Maar je kan de parfums ook perfect onderling combineren. Ik begin ‘s morgens vaak met Sì Intense en doorheen de dag verstuif ik er een vleugje Sì Fiori overheen.”

Cate en meneer Armani (zoals ze hem gedurende het gehele interview noemt) go way back. Nog voor ze officieel door de Armani-familie werd ingelijfd, ontwierp hij al kostuums voor filmrollen en rodeloperjurken. Ze zetten ook samen de schouders onder humanitaire projecten. “Ik heb een ongelofelijke bewondering voor de man, hij leerde me anders naar de wereld te kijken. Voor mij is hij een van de laatste groten. Het is een voorrecht om met hem samen te werken.” De liefde en het respect blijken wederzijds. Cate werd onlangs benoemd tot ‘Global Beauty Ambassador’. Dat betekent dat ze niet langer enkel in de campagnes voor de parfums maar ook in die van de skincare en make-up te zien zal zijn. Een unicum in de geschiedenis van het Italiaanse merk. “Zijn ze helemaal gek geworden?”, lacht ze.

Sinds vorige zomer wordt Cate op het parfumfront bijgestaan door actrice Elaine Zhong en modellen Adwoa Aboah en Sara Sampaio. “We zijn allemaal eigenaardig op onze eigen manier. Sara zit boordevol leven, Aboah is woest en Elaine straalt dan weer pure elegantie uit. Meneer Armani slaagt er steeds in om verschillende vrouwen uit verschillende werelden samen te brengen. Op die manier heb ik al veel interessante mensen leren kennen.”

Geen nieuw parfum zonder bijbehorende reclamecampagne. En ook in deze dromerige reclamespot is de boodschap duidelijk: zeg voluit ‘ja’ tegen het leven. Ga boodschappen doen in die rode baljurk en spring uit dat vliegtuig zonder na te denken over de mogelijke risico’s. Toch zou je kunnen stellen dat het in deze tijden minstens even belangrijk is om ‘nee’ te durven zeggen, niet in het minst op de werkvloer. “Dat klopt helemaal. Ik zeg zelf veel te vaak ‘ja’, want ik houd van het onverwachte”, aldus Cate. “Maar ‘ja’ zeggen tegen jezelf, betekent soms dat je ‘neen’ tegen iets of iemand anders zegt. Soms is dat broodnodig om tijd voor jezelf te nemen, want die is toch zo enorm kostbaar.”

Later dit jaar komt de verfilming van de roman ‘Where’d You Go, Bernadette’ in de zalen. Blanchett kroop hiervoor in de huid van Bernadette, een ooit succesvolle architecte die de grip op de realiteit verliest en aan de vooravond van een tripje naar Antarctica van de aardbol verdwijnt. De actrice zoekt voor elke rol een ander parfum uit. Welke geur uit de Sì-familie ze voor Bernadette zou kiezen? “Ze was een erg depressieve vrouw, dus ik houd het op deodorant – en dan enkel op een goede dag!” (lacht)

We nemen afscheid met een handdruk. ‘s Avonds treffen we elkaar opnieuw tijdens een exclusief diner. Na afloop knielt de actrice aan iedere tafel om te vragen of het lekker was. Zelf werkt ze nog de helft van een roze macaron weg voor ze in alle stilte van het toneel verdwijnt. Net zoals de prachtige boeketten en bloemstukken op de tafels overigens. Niet veel later worden de welriekende accessoires gespot in de armen van enkele Britse beautyjournalistes. “Op aanraden van Cate”, zeggen ze snel. “Die vond ze te mooi om zomaar te laten staan.” Of hoe je met ‘Sì Fiori’ ook letterlijk Ja tegen Bloemen zegt …

via Elle Belgium

Cate Blanchett Loves the Smell of Newborn Babies
She sat down with InStyle to talk all things olfactory.

Oscar-winning actress Cate Blanchett is an expert at setting a #mood. And when she gets into character, fragrance plays a key part in her transformation. We caught up with Blanchett, who is a global ambassador for Giorgio Armani Beauty and Fragrances, while she was in London for the brand’s most recent launch, Sì Fiori.

Since we’re talking about fragrances, who or what smells good to you?

It’s boring, but newborn babies. They’re just delicious. And so full of possibilities.

Indeed. Does fragrance factor into your getting-ready routine and into your work?

Oh, totally! Fragrance is such a receptacle of your memory. And also your sense of self and aspirations of who you want to project to the world. I think it was in the ’80s that they [launched] Poison — remember Poison? It was such a room-filling fragrance. For me, personally, I gravitate toward sensual, supple fragrances. They totally change your mood — and to choose one for every character is a must.

Do you have a whole suite of fragrances to choose from at home?

The only one I would wear from outside the [Armani] Sì family is one my mother used to wear, [the classic unisex scent] 4711. Everyone put it on after tennis. It was a real ’70s statement that reminds me of my childhood.

You’ve changed your hair a lot throughout your career. Is there one style that you’ve felt most comfortable in?

I loved the whole look from Ocean’s [8, 2018] and the shape [of that haircut] as well. I think the hardest to maintain was sad Carol [Aird, from the 2015 film Carol] because of the rigidity of the shoot and the kind of remoteness of her look. She had to be the object of someone’s desire. It was an onerous responsibility. And she was so groomed, which is quite hard for me.

Your Bob Dylan transformation in I’m Not There [2007] was mind-blowing.

Yeah, that was obviously quite androgynous. My husband wouldn’t come near me.

What does your beauty routine look like if you need to get ready in a hurry?

I’m usually getting ready on the tube or on the train or in a car. I’m not very good with the liquid foundation, but Armani just made a compact that’s really easy to apply. I’ve perfected the art of putting mascara on in a moving car. Usually I do mascara, some powder foundation, and lipstick. And pinch my cheeks.

You have incredible style. Do you plan your outfits? How much work goes into them?

It should never be work. That’s something I learned from Mr. Armani. True chic is effortless, and it’s got to come from you. It’s not what gets likes and views. So, yeah, I mean, I love fashion, I love costumes, and I’m also a great lover of rewearing things I’ve loved in the past. I would say my go-to is pretty much a well-pressed suit. Or a good pair of trousers.

The classics. Do you have a favorite Aussie expression?

My grandmother used to say, “Go to billy-o.” I think it was basically her polite way of saying get lost.

Do you use that these days?

I do! You know, what I really love is when people are doing things that are wildly inappropriate and you say to them, “What is this, bush week?” Do you have that expression in America?

No, but maybe now it will become a thing. What kind of style or beauty advice might you pass on to your kids when they’re ready?

Sunscreen. Sunscreen, sunscreen, sunscreen.

via Instyle

Blush Dream Magazine #22 – May 2019

Marie Claire UK – July 2019

Sens Poland – August 2019

Smile Magazine by Blush Dream #1 – August 2019

P.s. Giorgio Armani has been announced as the main sponsor of the upcoming Venice International Film Festival. May we hope for pictures as beautiful as the one at the top? Source

Cate Blanchett on her new movie “Where’d You Go, Bernadette”

Cate Blanchett on her new movie “Where’d You Go, Bernadette”

Hello Blanchetters!!

Cate Blanchett and director Richard Linklater talked to Entertainment Weekly about their new movie Where’d You Go, Bernadette. The article/interview available in the Summer Movie preview issue also features a new still of the production. We added this image to the gallery and also the other one released by Fandango last week. Read the article below and enjoy the new images!!!

How Cate Blanchett and Richard Linklater figured out Where’d You Go, Bernadette

Figuring out Bernadette Fox wasn’t easy for Cate Blanchett. “It wasn’t just how complex and painfully absurd her life is, but the brittle way she pits herself against the world,” the actress, 49, says. “In the end, the trickiest thing was tone. It’s one thing to listen to an unrelenting sardonic inner voice in a novel, and another thing entirely to hear it on screen.”

Fans of Maria Semple’s Where’d You Go, Bernadette should know what she’s talking about. The 2012 novel, which spent more than a year on the New York Times best-seller list, presents significant challenges for a big-screen adaptation, particularly Semple’s uniquely sarcastic voice and her use of catty emails, phone transcripts, and police reports to drive the narrative. A once-renowned architect, Bernadette retreats into a shell of her former self after she gets married and has children. And then she vanishes to Antarctica(!), leaving her plucky 14-year-old daughter, Bee (Emma Nelson), to solve the mystery of what happened, and why.

All involved with the adaptation immediately connected with the book upon reading it. Blanchett, particularly, vividly recounts her first experience with it: “It was the first of Maria’s books I read and I ate it alive — I was unprepared and embarrassingly, I read it on a plane. Weeping and laughing and nearly peeing my pants in public. But I couldn’t put it down.” Nelson, making her feature-film debut in Bernadette, read Semple’s novel after getting a callback for the part, but before reading the script. “Especially for someone my age, [Bee] is not a character you usually see in books: I think I appreciated that aspect,” she says. “It showed her as not somebody that was in the way of things or acting childish, but rather, somebody driving the story and driving her own determination.”

As for the vision of director Richard Linklater (Boyhood)? “I concentrated on what I felt the book was really about at its emotional core, which was an intense portrait of motherhood,” he says. “For someone else who loves the book, their favorite part might be something else. You’ve got to jump in as a storyteller and say, ‘Well, this is my version.’ There’s no one version of any book or story. [It’s] what you’re moved by and what you personally want to explore via this story and these characters.” Linklater believes, for instance, that another filmmaker might have leaned more heavily into the broad comedy of Semple’s work. Linklater, conversely, was attracted to its humanity.

This meant working closely with Blanchett and Nelson during an entire month of rehearsals. “We talked through everything,” Nelson says. “‘Is this part of my character? Would I say this? Is this how the conversation would really go?’” Blanchett has nothing but praise for the process: “[Richard Linklater] sits and chats and reads with the actors as he writes…It was a hilarious and touching process. I adore him.”

Blanchett describes the collaboration as a “fascinating challenge,” but always felt intimately connected to her character. “I think so many women relate to Bernadette: She’s someone who has been eaten alive by failure and buried her creative identity in child-rearing,” she says. “Haven’t we all thought at one point, ‘Oh, s—, this mess is all too much. [Wouldn’t it] just be easiest to disappear?’”

The film opens in theaters on Aug. 16.


Cate Blanchett covers Mujer Hoy Spain + Ellen von Unwerth’s VON magazine

Cate Blanchett covers Mujer Hoy Spain + Ellen von Unwerth’s VON magazine

Hey Blanchetters!

Two more covers to be added to our 2019 collection! Cate Blanchett is featured in two new magazines. First, we have the latest issue of Mujer Hoy in which there is a promotional interview for Sì Fiori and Armani Beauty. Then the long waited photoshoot by Ellen von Unwerth made last year during Cannes Film Festival that will be featured on the n°2-2 of Ellen von Unwerth’s VON magazine, the cinema issue, available in May. Take a look!

Cate Blanchett: “Este es un momento decisivo y fascinante para todas”

Las mujeres no pueden dejar de mirarla. Lo tenemos comprobado. El famoso vídeo viral en el que la actriz Kathryn Hahn observa embelesada a Rachel Weisz se queda corto ante el efecto Cate Blanchett. La primera vez que observamos el fenómeno en Mujerhoy fue hace casi una década. A las puertas de una fiesta de gala en Ginebra, Cate conversaba con unos amigos, magnífica y etérea. Todas las mujeres que pasaban a su lado la recorrían de arriba abajo con la mirada. No eran celos, era admiración en estado puro. Los hombres, sin embargo, no se sentían impelidos a mirar.

Las pruebas irrefutables nos las ofreció la prensa internacional en Londres hace apenas unas semanas. Fue en la cena de presentación oficial de Sì Fiori, el nuevo perfume de Giorgio Armani del que, por supuesto, es musa. A los postres, la actriz se sentó unos minutos en cada una de las mesas para charlar con los invitados, una mayoría abrumadora de mujeres. A su alrededor se formaba un corro de rostros absortos, miradas de fascinación, algunas bocas abiertas y gestos de asentimiento absoluto. “Todavía tengo dos horas de coche hasta mi casa en el campo. Estoy encantada con mi jardín, está inspirado en el trabajo de Darwin”, era el tipo de cosas mundanas que relataba Cate. Y la audiencia asentía entregada, como si le escucharan recitar Shakespeare solo para ellas.

Cálida y cercana
Nadie es inmune al hechizo de Blanchett. En las distancias cortas es imposible no dejarte llevar por ese timbre cadencioso, por esa presencia imponente y serena. De sus respuestas educadas se puede inferir que su familia está por encima de todo; que su concepto de la belleza va más allá de aplicarse cremas; que el cuidado del interior es lo que se muestra en el exterior (un mantra que lleva a rajatabla); que, como a los hobbits de la Comarca, un paseo por los alrededores de su casa en la compañía adecuada es una experiencia tan plena como cualquier viaje a un destino lejano. “Es mi idea de un día perfecto: salir al campo con los niños y los perros, y que la jornada termine de una forma inesperada y sorprendente que no habrías imaginado al despertar”, asegura. La normalidad hecha perfección rural.

Cate y su marido, el dramaturgo Andrew Upton, se trasladaron a vivir a la campiña inglesa de Sussex hace un par de años. Con ellos vinieron sus tres hijos adolescentes (Dashiell, 17; Roman, 15; e Ignatius, 11) y su hija adoptada de cuatro años, Edith. Un cambio de registro tras casi una década asentados en Sidney que le ha permitido volver al West End de Londres con obras como When we have sufficiently tortured each other, de Martin Crimp. Un contrapunto crudo y transgresor al extensísimo repertorio de una actriz que, como le dijo una vez su hermana Genevieve, se funde con cada personaje hasta que ella misma desaparece completamente de la escena. Y solo quedan reinas legendarias, elfas mitológicas, diosas escandinavas, amas de casa en crisis moral, sexual y social, damas de alta sociedad venidas a menos…

Mujeres al poder
Ella, que las ha interpretado a todas (y se ha hecho con dos premios Óscar por el camino), entiende que las mujeres están ahora en una encrucijada. “Es un momento decisivo y potencialmente fascinante para todas. Estamos en el proceso de convertirnos en algo. Pero no solo nosotras, creo que tenemos que llevar a los hombres a nuestro lado. Lo realmente apasionante de este preciso momento de la historia es que se ha escuchado a las mujeres. Pero no como individuos concretos, sino como grupo. Lo que estamos aceptando es que somos seres humanos increíbles”. Lo dice con la sabiduría de los 50 años que cumple el 14 de mayo.

Justo ahora, Cate se convierte en la nueva imagen global de Giorgio Armani Beauty. Eso significa que, además de encarnar a la heroína optimista, elegante y todopoderosa de la familia de fragancias Sì, también va a ser embajadora del maquillaje y del tratamiento de la firma que pilota el creador italiano. “El último de los grandes de la moda, ahora que hemos perdido a Karl Lagerfeld”, apunta

Sabe que el cine del que es estrella indiscutible ha ayudado al genio a definir un nuevo tipo de feminidad. “Su estética me influyó mucho antes de conocerlo”. Lo dice porque el diseñador fue la piedra angular de su armario con un traje de chaqueta gris que se compró con su primer sueldo cienematográfico. Todavía lo conserva. “Trabajar con el señor Armani ha sido uno de los grandes privilegios de mi vida”, afirma. “Lo que adoro de cómo ve el mundo es que no pierde jamás la curiosidad. No es una presencia creativa estática”, añade.

En la moda y también en los aromas: “A través del perfume que llevas estás invitando a los demás a descubrir tu particular mundo emocional. Es algo muy privado”, postula. Y esas sensaciones la devuelven a la infancia. “De niña me escondía en el armario de mi madre para pensar a oscuras. Su ropa emanaba esa fragancia tan suya. Era peculiar y muy glamourosa. Porque, por supuesto, cuando somos niñas, nuestras madres son siempre las mujeres más elegantes de nuestra existencia”. Una distinción que siempre ha marcado con unos labios rojos. Hasta ahora. “Es curioso, porque solía ser mi esencial de todos los días. Es un tono que claramente te sitúa en el mundo y que dice: “Aquí estoy yo”. Pero ahora apenas lo uso. Quizá en una alfombra roja. Pero soy mucho más de nudes rosas”, concluye.


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