Cate Blanchett in Porter Magazine; & New Nightmare Alley Clips, and Don’t Look Up Still
Posted on
Nov 29, 2021

Cate Blanchett in Porter Magazine; & New Nightmare Alley Clips, and Don’t Look Up Still

Hello, everyone! Feeling ecstatic with this new Cate update!

Cate covers Porter Magazine. We have updated the gallery with the editorials and the outtakes. There are new footage from Nightmare Alley clips, and Vogue published an article on the costumes in the movie. Also, new still from Don’t Look Up has been released.

Leading Light with Cate Blanchett

Few actors have the cachet of CATE BLANCHETT, but what really drives the multi-Oscar-winning star these days? She talks to AJESH PATALAY about choosing projects that provoke, overcoming parenting challenges and why she’s not interested in ‘winning’ the scene

Click image for higher resolution

When Cate Blanchett finds her groove, it’s like a wind catching in her sails – and a wonderful thing to behold. She’s currently in Berlin, where she’s shooting Tàr, a movie written and directed by Todd Field, in which she plays an eminent music conductor. Having just come off a night shoot when we speak, the actor takes a few minutes to revive. Talking about Berlin, a city she adores, instantly warms her up. “There are so many expat Australians living here,” she effuses. “I feel very at home.”

Next, Blanchett moves into enthusiastic discussion about Tàr, in which she gets to conduct (or pretend to) a full orchestra: “It’s been astonishing. Just to be vibrating in that space with that many musicians.” This leads her on to a rhapsody about a National Trust performance that was broadcast live during the first UK lockdown in 2020, for which five musicians in different locations began playing as daylight broke where they were, building from a solo to a quintet. “My husband and I lay there – we’re sort of on a hill…” Blanchett says of the manor estate in East Sussex (which includes an orchard where, naturally, she presses apples in her downtime), where she lives with her playwright/director husband Andrew Upton and their four children. “We just watched the dawn, in russet mantle clad, emerging,” she says, quoting Shakespeare, “knowing there were about 5,000 other people listening to this music. It was the most beautiful gift that came out of the pandemic.”

Five minutes later, we’re on to climate change and Blanchett is firing on all cylinders. The subject is her next release, Don’t Look Up, a boisterous satire from writer/director Adam McKay about two astronomers (played by Leonardo DiCaprio, himself a fierce advocate for climate action, and Jennifer Lawrence) who try to warn mankind about an approaching comet that will destroy Earth. Everyone, from clickbait pundits and tech billionaires to inept presidents, is subject to ridicule in a story that becomes an obvious metaphor for global warming. Blanchett plays a TV talk-show host, a model of artificiality with bleached-blonde hair, blinding white teeth and impossibly bronzed skin. “Actually, it’s a revolting moment when you wash that makeup off and see the sludge going [down the drain],” she recalls. “It’s quite confronting.”

On the environmental matters that inform the film, she doesn’t sugar any pills. “Everyone is trying to be positive, talking about 1.5 degrees of global warming,” she says. “But 1.5 would still be disastrous. We need to be fucking scared… and demand change; be collectively courageous enough to face that fear and do something about it.” The movie, for all its doomsday messaging, is actually a laugh a minute. And there’s a particular thrill in seeing so many Hollywood stars onscreen at the same time. One pivotal scene in the White House Situation Room brings together five Oscar winners and one Oscar nominee: Blanchett, DiCaprio, Lawrence, Meryl Streep (who plays a catastrophically useless president), Mark Rylance and Jonah Hill.

What was it like being in that room? “It did feel like a Last Supper,” Blanchett says, but this was less a measure of the star wattage than of the strict Covid protocols that were in place, along with the film’s apocalyptic plot. Still, she concedes, getting to high-five Streep (which is the extent of their interaction onscreen) “was great”.

At the same time, Blanchett stars opposite Bradley Cooper in Guillermo del Toro’s Nightmare Alley, a period noir set in the world of a traveling carnival that follows the “rise and fall of a liar”, according to del Toro. Many will see the film (like Don’t Look Up) as a response to the Trump era. “I definitely think this was something boiling in Guillermo,” says Blanchett. “[The film] is a real dark night of the soul. You watch a man breaking the rules, getting away with it… and refusing to show sympathy or compassion.”

McKay has said Don’t Look Up was inspired by a litany of “disastrous presidents”. And Blanchett points to other populist leaders, remarking on the common thread. “I’m hoping it’s a white-male ghost dance,” she says. “They realize they’re on the edge of extinction and they’re panicking. We’re witnessing them in their death throes, which is why it’s so aggressive and destructive.” I ask if, on the contrary, such leaders could see a resurgence. “That’s why people have to vote,” she fires back. “And exercise their power. I’m sounding like I’m on a soapbox, which I’m not interested in, but it’s important to not give in. I’m not giving up hope. As I say to my kids [on climate change], if we’re going out, how do we choose to go out? It’s a terrible conversation to have with your 13-year-old, isn’t it? But anyway. We do laugh around the dinner table. That’s what’s good about Adam’s film. You have to laugh.”

Understandably, Blanchett prefers discussions about her work and not to be caught soapboxing. “I couldn’t be less interested in agitprop [or] telling people what to think,” she says. But she is drawn to films that “ask provocative questions” and she isn’t afraid to get behind causes she believes in, such as Prince William’s Earthshot Prize, which awards contributions to environmentalism. She also recognizes how fraught being outspoken in public can be. “You have to be judicious,” she says. “I’ve been asked to do things by people and I’ve said, ‘I think I’m going to be a liability’.” Her presence can derail a debate, she acknowledges, as she draws the focus over the issues.

She also sees how polarized – and mired by point-scoring – public discourse has become. “I’m very sad about the loss of genuine debate,” she says, “where leaders, public intellectuals and everyday citizens try to find common ground, try to understand the issue, rather than try to win… Even in acting, people talk about [how] to ‘win’ the scene. No, we have to make the scene come alive. And we might have to lose a bit here, win a bit there.”

iven how social media is sharpening the debate, I wonder how much that comes up in conversations with her teenage children Dashiell, Roman and Ignatius, and her youngest, Edith. “A lot,” she says. “Because so much of our so-called information comes through social media. I’m old enough to have been taught at school what a primary, secondary and tertiary source is. I say to the children when they mention something, ‘Where did you read it? Who has [authenticated] that? You have to learn how to read an image and article. And if you’re going to share something, you’d better make sure you have checked the sources.’ Of course, they roll their eyes. But when you hear them talk to their friends, I think they’re responsible. My son is studying physics and philosophy, so he is really interesting to talk to about [technology]. I don’t want to become a separated generation, because I also feel responsible for the landscape he is about to emerge into as an adult.”

On to lighter topics and there’s still one question of vital, global importance I have yet to ask: what did Blanchett make of Adele holding her up as ‘her style icon’ in a recent interview for Vogue? The actor laughs. “I was absolutely chuffed! I think she is amazing. So down to earth. Our paths crossed when she came to Australia on tour.”

As for her own style icons, Blanchett cites Iris Apfel and Fran Lebowitz. And her regard for fashion can be traced back to her early years playing dress-up with her sister: “My sister would dress me up and I would pretend to be whatever the costume told me to be,” she recalls.

She’s clearly not lost her appetite for childish play because, when asked to name the role she’s most enjoyed playing across her illustrious career, it isn’t the historical dramas, fantasy epics or action blockbusters that first spring to mind. It’s “voicing a monkey” in Guillermo del Toro’s upcoming version of Pinocchio. “That was hilarious,” she says. “I’d listen to a lot of different chimpanzees, then try everything out. You go back to being six years old. I mean, I have a six-year-old, so [I did] a bit of work with [her] too.” That must have been fun for her daughter. “Actually, she got rapidly sick of my noises,” Blanchett smiles. “Hopefully, the audience won’t.” As if we ever could.

‘Don’t Look Up’ is in cinemas from December 10 and on Netflix from December 24. ‘Nightmare Alley’ is in cinemas from December 17 (US) and January 21 (UK)

Porter Magazine

Creating the Costumes for the Charlatans, Hustlers, and Con Artists of Guillermo del Toro’s Nightmare Alley

Nightmare Alley is Del Toro’s homage to classic film noir, where a character’s alluring façade can mask ulterior motives. Take Dr. Lilith Ritter, a glamorous psychiatrist who attempts to expose Stanton as a fraud before getting tangled in his web of deception. She’s played by Cate Blanchett in full femme fatale mode, and her collection of stylish gowns and velvet capes reveals more about the character than any verbal description.

“Luis designed a reality with his costumes that reflect personality and help tell the story,” Del Toro says. “Leather, wool, embroidery—they all define character and integrate visually to a color and texture palette, seamlessly.”

Ahead of Nightmare Alley’s December 17 premiere in theaters, Sequeira shared some of his costume sketches with Vogue and spoke about bringing Del Toro’s sinister world to life.

Dr. Ritter represents the world of distinguished old money that Stanton wishes to inhabit. Sequeira cites her as his favorite character to dress in Nightmare Alley, drawing inspiration from Paris fashion sketches from the ’40s for Blanchett’s designs. “It was all about working with Cate’s body frame and making her look as beautiful as possible, which isn’t difficult,” he says. The designer culled materials from various archives across Spain, Italy, and the U.K., pulling different types of velvet for Dr. Ritter’s collection of glamorous eveningwear. “There’s one gown that had little brass stitching throughout, so in the low lighting of the Copa, any kind of movement really made the fabric sing.”

Click image for higher resolution and more concept art photos:

Check these two new clips with some unseen clips from the movie.

 

Vogue

Don’t Look Up

Don’t Look Up offers plenty of comedic knives for Trumpism (the title is the rallying cry of science deniers), but it’s also a brutal send-up of the media. Cate Blanchett’s take on a morning show anchor for a show called The Daily Rip is as close to Mika Brzezinski as one could get without being an impersonation. Even The New York Times comes in for a spanking.

Vanity Fair

New Interview | On Beauty: Cate Blanchett
Posted on
Mar 18, 2019

New Interview | On Beauty: Cate Blanchett

Hello everyone!

Let’s start the week with this new interview for British Vogue, a couple of photos added to our gallery!
Enjoy!



Source: armani beauty instagram

Cate Blanchett has long been a female force to be reckoned with. Having starred in several big-hit movies – such as the Lord of the Rings franchise, Blue Jasmine and The Aviator – she’s not only a great talent, but her beauty and style musings are certainly notable, too. To mark the launch of Armani Si Fiori fragrance – she’s been the face of the beauty brand since 2014 – Blanchett talks to Vogue about fashion, feminism and fragrance.

On fragrance
I was given my first fragrance while I was at drama school, my friend gave me a Clinique perfume that she didn’t like. I had absolutely no money. But I think probably even earlier than that I wore perfume. I must have smelled like lavender or violets because that’s what my grandmother smelled of. For me, growing up with my mother and grandmother, and remembering their scents, I felt like one day I’m going to be allowed through the portal into womanhood and I, too, will wear a fragrance.

On hair colour
I changed from blonde to brunette [and then back to blonde] for a play [When We Have Sufficiently Tortured Each Other]. I was on stage at The National. I think I looked like my mother and my sister. It felt like some kind of throwback. I just felt like it was right for the character and it was right for the look of the play. So, I did it for work. I could’ve worn a wig, but I don’t like wearing a wig on stage. So, I did it for work.

On ageing
I don’t think about ageing at all until someone brings it up. [When] I think of some of the most inspiring faces, it’s Louise Bourgeois and Georgia O’Keeffe. I’m looking into the spirit of the woman and that’s what I love. Like Mr Armani, who’s really wanted to capture the spirit of being alive as a woman [in his work]. You know, it can be sensual, but it can also be full of power, it can be fragile, but it can be wicked. It’s a whole lot of dualities.

On skincare
It depends on the season. I always use good quality products and products that have a natural base [to them]. What I’ve been using recently (because of the weather) is Giorgio Armani Crema Nera. I use a cream moisturiser and a recovery oil every day to give my skin an extra barrier from the weather. But even on days like this [winter weather] I put on something with an SPF, too. I think it’s just a process I’ve inherited from growing up.

I’ve recently realised the power of exfoliation, so I use an exfoliant every day. If I’m not going to go out, I might put on a face mask. I occasionally have an oxygen facial – they’re great. Being on stage you’re constantly taking make-up on and off, it does take its toll on my skin.

On make-up
At night I’m usually face-planted onto a surface so I don’t have a lot of make-up on. During the day, I’ll wear mascara and I love the Rouge d’Armani matt lipstick. It’s really smooth and it doesn’t dry out your lips.

On fashion
I love fashion. I see it all as costume. That’s where it springs from [for me], an interest in character and costume – but also when you get to work with great designers or people who are so good at tailoring or interested in forward-looking ideas. If you look at people like Roksanda Ilincic and her incredible collection where she smashes those extraordinary colours and patterns together, it is really inspiring. Recently I was unpacking stuff and I found an Armani suit that I’ve had since 1997. You hold onto these things; you don’t necessarily need to have the latest and the new. So, if you have something that’s beautifully made, you keep it and you re-wear it. Fashion always looks backwards to look forward, so why can’t we just recycle and re-wear?

On reading
I have started an astonishing read by a journalist called Behrouz Boochani, called A Letter From Manus Island, about an offshore detention centre for Australia. The book is a series of texts that he smuggled out on his mobile phone and it is absolutely heartbreaking and eye-opening.

Having not read a lot of her previous work, I read a lot of Rachel Cusk’s writings last year. And I read an astonishing book by Maggie Nelson called The Argonauts, she’s part memoirist, part theoretician, part poet, part prose writer, she defies description. She wrote the book while she was pregnant, and [at the time] her partner was transitioning from female to male. She describes that whole journey. It’s an astonishing read.

On feminism
I think there are now more women in the writer’s room. There are more women at the centre of narratives being optioned and there are more platforms on which to release stories. There are certain stories, from the Nineties, about really interesting female lives but they were basically used to tell the same story about a woman. A woman in a man’s world. Whereas I feel now that the complexity and interest of these characters are being placed in very interesting backdrops and the stories that are being told about them are more sophisticated and complex. It excites me, both as an actor but also as an audience member. You don’t have to be in them to consume them.

Source


Update | Magazines featuring Cate Blanchett
Posted on
Mar 16, 2019

Update | Magazines featuring Cate Blanchett

Hi Blanchetters!

While we wait for Cate’s next project, here are some magazines featuring interviews and articles.
Enjoy!

Cate Blanchett On Female Rage, The Smell Of Womanhood And Loving The Scent Of Cigars

It’s safe to say Cate Blanchett point blank refuses to let Hollywood define her. Whether it’s endlessly swapping between hair colours (brown to blonde in two weeks, anyone?) or playing seriously iconic women (Queen Elizabeth I and an elf, to name just a few), she defies being typecast. And we love her for it.

Catching up at the launch of Armani Si Fiori, the perfume Blanchett has helped to make a household name, the Australian native revealed the pretty ugly smells she secretly loves, the acting tips she exchanged with Margot Robbie, and her tricks for telling anxiety to get back in its box.

Red carpets can be nerve wracking, how do you overcome the jitters?
‘I think the more relaxed you can feel in any situation, whether it’s public or private, the more yourself you can be. Going on stage is up there on the nerve wracking scale! I tell my children that the feeling of anxiety is very close to the feeling of excitement, so I try and tell myself that I’m excited, not anxious. It’s a trick of the mind.’

What’s your go-to beauty look for feeling confident?
‘Someone else doing my hair and make-up! I don’t have a go-to look, I just have this ability to short circuit other people’s expectations and judgements on how I look. Maybe it’s because I’ve played so many different characters and looked so different, on camera and on stage, that my sense of self is very fluid. I don’t dress on the red carpet to get a thumbs up or thumbs down, I couldn’t care less. The secret is: don’t Google yourself and close down your social media accounts. It’s liberating.’

Which women have inspired you to be bolder in your career?
‘Gosh! I think about a young woman like Rosa Parks, or Cathy Freeman who’s an indigenous athlete in Australia. When I was younger I was quite obsessed with Frida Kahlo, Georgia O’Keefe and Lee Miller – they all broke a lot of boundaries.

‘DON’T GOOGLE YOURSELF AND CLOSE DOWN YOUR SOCIAL MEDIA ACCOUNTS. IT’S LIBERATING.’

‘I was incredibly nervous about playing Queen Elizabeth I – I actually spoke to Margot Robbie about this recently. When I heard she was playing the role I was super pleased. I said at the time when I played her, ‘Judi Dench played this role, who am I? Some nobody Australian! I’m going from the colonies to playing the great defining queen of England!’, and Margot said the same thing. We both agreed that it was a daunting role to take on, both as an actress, but also as an Australian actress.’

Why is it important for women to be fearless in 2019?
‘I think what’s happening in the world at the moment, which is quite different to the movement in the 70s, is that women are being heard and believed. Women are finally talking to one another and realising that the challenges they’ve had to face on a daily basis are not exclusive to their own experience, in fact, they’re very common and there’s no shame in it.

‘I think women carry a lot of daily shame, but the more you express, the less rage you hold onto, and the more you’re able to move positively forward together. I feel very strongly that women are not going to move backwards from that position.’

‘WOMEN CARRY A LOT OF DAILY SHAME, BUT THE MORE YOU EXPRESS, THE LESS RAGE YOU HOLD ONTO.’

You’re the face of Armani Si perfume which is all about saying yes, what’s the best thing you’ve said yes to?
‘I had someone once say to me, ‘You do not want to go to New Zealand and play an elf queen for three weeks,’ and I said, ‘It’s Peter Jackson are you kidding me?’ So I was pretty happy with that decision.

Which perfumes make you nostalgic?
‘There was a lot of hideous loud perfumes in the late 80s that used to give me headaches, like Dior Poison. So, I’ve always gravitated towards perfumes that have an oud or that sensual mysterious chypre. They linger better… They remind me of fragrances that my mother wore. Growing up in a household of women, I used to walk into my mother’s closet and I remember thinking, ‘This smells like womanhood’.

‘My grandmother smelt of talcum powder and violets. but my mother was more modern. Also, growing up in Australia the smell of the ocean, eucalyptus, and bush fires all take me right back to my childhood.’

‘I USED TO WALK INTO MY MOTHER’S CLOSET AND THINK, “THIS SMELLS LIKE WOMANHOOD.”‘

Which smells do you love that you shouldn’t?
‘I love the smell of petrol. I always find the experience of filling up my car profoundly depressing, even though I drive a hybrid, but I remember loving the smell as a child. No idea why! I also love the smell of marker pens – it’s a little more socially acceptable to sniff a pen than a gas tank… Oh, and cigar smoke! Again, I hate everything that it represents but I love the smell.’

Source


Vogue Japan – February 2019

Sha Magazine – February 2019

The Ceo Magazine – March 2019

IN Denmark – March 2019

Io Donna Italy – March 9th, 2019

Marie Claire Style Japan – March 14th, 2019

Cate Blanchett in Vogue Australia and InStyle Australia may 2018
Posted on
May 1, 2018

Cate Blanchett in Vogue Australia and InStyle Australia may 2018

Hello Blanchetters!

After so many appearances in Cinemacon and few days before the Festival Cannes, here are some scans from Vogue Australia and InStyle Australia may 2018 issues featuring photos of Cate during the Sì Passione launch in Sydney and an article about when Cate fronted the inaugural InStyle and Audi Women of Style issue in 2009. Enjoy!

Cate Blanchett Fan Scan Instyle Australia May 2018

Click to download the full HQ version available in the gallery


Vogue Australia May 2018

Click to download the full HQ version available in the gallery

P.S.
Since we widely extended our archive in the last year, the costs are increased and we can no longer sustain them our own. This site is maintained by the admins in terms of money, material and time (a lot) for free. Nothing we gain for it, so we humbly ask all of you to support the site, and leave a donation. Every little bit helps. [Donation button in the bottom of the site]

New Magazine Scans + New interview with Cate Blanchett for Vogue Arabia
Posted on
Jan 11, 2018

New Magazine Scans + New interview with Cate Blanchett for Vogue Arabia

Hi Blanchetters!

Thanks to the generous Katarzyna the scans from Wysokie Obcasy Extra magazine are now available in our gallery!


Also, there is a new interview with Cate in Vogue Arabia. Read it below!

Cate Blanchett on Why the Industry, and World, Need to Change


A subtle whiff of Armani Sì permeates the air as Cate Blanchett sits down. She is – clichés be damned – every bit as ethereal as she looks on screen. She’s in a Marni houndstooth-print pencil skirt and so green silk blouse, her skin milky smooth, her hair in a modern blunt cut, her makeup minimal. Yet she’s the first to dispel this Hollywood deception of perfection: “This is not what I look like on a regular school run!” She’s been an otherworldly elf queen, a formidable goddess of death, a fast-talking Katharine Hepburn, a powerful young English monarch. She’s been nominated for seven Academy Awards and won two – for best supporting actress in The Aviator in 2004, and best actress in Blue Jasmine in 2013, Woody Allen’s unflinching dark comedy of a woman slowly losing her grip on her reality after her husband is convicted of large-scale financial fraud. In person, though, she’s warm, engaging, and sharp as a tack. There’s no hesitation in her clear, strong voice, the Australian accent so but discernable. This is a woman in her prime: unafraid, uncompromising, unabashed.

The 48-year-old actor is in Dubai to head the jury of the IWC Filmmaker Award at the Dubai Film Festival; her third year of involvement with the prize, as an IWC Schaffhausen brand ambassador. For the past six years, the Swiss watchmaker has worked to boost the Gulf ’s film industry by awarding this prize to a feature-length film project in production. This year’s crop of four finalists included three female directors, a feat Blanchett is proud of, especially for the region. “All the submissions were extraordinary,” she enthuses. Saudi Arabia’s first female filmmaker, Haifaa Al Mansour, walked away with the top honors – and a US $100 000 cash prize – for her script Miss Camel, an inventive stopanimation tale about a Saudi teenager longing to escape an arranged marriage, and then discovering she can talk to animals. It’s a tale of selfdiscovery and female empowerment, and seems apt for the times. The Los Angeles-based director is no stranger to accolades – her 2012 film, Wadjda, was the Kingdom’s first social entry for best foreign language film at the Academy Awards. She’s also recently completed Mary Shelley with Elle Fanning, as well as the Netflix movie NappilyEverAfer.

“The finalists’ work was very diverse, surprising, and innovative,” Blanchett says. “None of them ended up where I expected them to when I started reading. For this particular award, it’s not just about the story – it’s also about the filmmaker’s vision for it.” She’s full of praise for the region’s film industry, which, while often dealing with triumph over diversity or confronting hardship and conflict, both familial and societal, tackles the themes in diverse ways. “It’s interesting that there are a lot of comedies being made here. Comedy is a really important part of dealing with the world at the moment,” she says with a knowing smile. “We all need to laugh. What I find most impressive is about the films from this region that come to the West are often made with very few resources, and the level of invention and how accomplished they are in their realization is quite breathtaking.”

While it might be easy to surmise that the mother of three boys – Dashiell (16), Roman (13), and Ignatius (9) – would’ve focused her film choices on strong female roles with the arrival of her youngest, daughter Edith, in 2015, she swiftly puts that notion to bed. “I’ve always been very personal in my choices. If you have true engagement in the world in which you live, your choices will end up being current and relevant. I’ve never made consciously political choices but I have a strong, innate sense of wanting to be in interesting, engaged conversations and my gender shouldn’t be an impediment to that happening.” To this end, she doesn’t limit herself with genres, being that rare actor who can seamlessly move from comedies to heavy-hitting dramas, experimental art films, and fun action adventure roles, like last year’s Thor: Ragnarok. She is disappointed, however, that she hasn’t worked with as many female filmmakers as she would’ve liked. Here the conversation takes a weighty turn and it’s clear she is serious yet spent that society is still having the same conversations about discrimination and diversity. “As a species, we are very slow to learn and so I should be unsurprised that yet again we’re talking about equal pay for equal work; we’re talking about the intolerance for sexual abuse and domestic violence. But the difference, I think, is that women have had enough. Certainly, in my industry, women have had enough for a long time. We cannot be in this same place in 10 years, having the same conversation. It doesn’t behoove us economically, socially, morally, politically. Women are half the population. That’s the momentum we cannot lose this time. There’s an incredible opportunity to shift our thinking. We all talk about progression, innovation… Diversification leads to deeper innovation and real innovative change is always scary and daunting before it happens.”

It’s somewhat in her DNA to be interested in what women do and the challenges they face – After the death of her father when she was 10, her mother, June, left her teaching career for property development in order to support her three children. Blanchett’s grandmother also lived with the family. After a gap year in Egypt with plans to become a museum curator, Blanchett returned to Australia and, in 1992, graduated from Sydney’s National Institute of Dramatic Art. She quickly set stages alight with her commanding presence. Hollywood beckoned, but it was her arresting, nuanced turn in Elizabeth (1998) that announced her Old Hollywood star power to the world.

She and her husband, playwright Andrew Upton, got married in 1997 after a breakneck romance, and currently live in the UK, where they also run a production company. (His unusual keepsake from her career? The prosthetic elf ears she wore in The Lord of the Rings). One son is still completing school in Australia – “it’s been hard” – but don’t get her started on the societal pressures working mothers face. Her brow furrows, her voice becomes clearer, more strident. “If I get asked one more time how I balance work and having children, when my husband and male actors never get asked that question… We have to stop putting pressure on women that they have to have it all, do it all, or that anyone can have it all. You can’t. You’ll never sleep. But this is not just about women – you have to bring the men along, too. Whenever a man supports a woman by taking paternity leave or sharing child-rearing responsibilities, he’s somehow ‘emasculated.’ Only when that’s seen as a genuine, positive thing for partners to do, will women be freed to enter the workplace guilt-free. You have to remove the guilt and the stigma.” And with that, she turns her mesmerizing gaze straight ahead. Focused. Powerful. Forthright. A woman of – and for – our times.

Source

Cate Blanchett & Chris Hemsworth on the cover of the November 2017 issue of Vogue Australia
Posted on
Oct 30, 2017

Cate Blanchett & Chris Hemsworth on the cover of the November 2017 issue of Vogue Australia

Hello everyone!

Full scans from Vogue Australia November issue featuring Thor: Ragnarok stars Chris Hemsworth and Cate Blanchett were added to the gallery. Also, in the magazine an old pic of Cate and her sister, Genevieve, and some info about RED film by Del Kathryn Barton. Enjoy!





Photoshoot



First look: Cate Blanchett and Chris Hemsworth cover Vogue Australia’s November 2017 issue
Posted on
Oct 22, 2017

First look: Cate Blanchett and Chris Hemsworth cover Vogue Australia’s November 2017 issue

Hey everyone!

Cate and Chris look absolutely gorgeous together in the new photoshoot for Vogue Australia. Here are some HQ images.

In this issue, which hits stands on October 30, Vogue profiles Cate Blanchett and Chris Hemsworth: the quintessential Australian Hollywood success story.


Photographed by Will Davidson and styled by Vogue’s fashion director Christine Centenera, Cate Blanchett wears Louis Vuitton and Chris Hemsworth wears Commas, Jac + Jack and Sandro on the cover of Vogue Australia’s November 2017 issue.

Hemsworth is Thor, the star of a multibillion-dollar comic franchise, Blanchett is the Oscar-winning actress playing the first female Marvel supervillain. Together Chris Hemsworth and Cate Blanchett represent the quintessential Australian Hollywood success story. In the cover interview with Vogue’s deputy editor Sophie Tedmanson, Hemsworth admits it was at first daunting playing opposite the two-time Oscar-winning actress who is renowned for her extraordinary acting ability and ethereal beauty.

“It was sort of intimidating at first,” he admits. “Especially the lead-up to meeting her, I was like: ‘Okay, this is Cate Blanchett’ … My nerves were certainly more elevated than usual. No matter how many times I tell myself: ‘I’m the lead, I’m the number one on the call sheet’, it still feels like I shouldn’t be; it feels like I’ve cheated somehow. I remember trying to talk myself into feeling better about it, like: ‘Cate Blanchett is coming onto my set’, ‘It’s my film, I’m Thor’ and then another part of me is like: ‘None of that matters!’ But then she comes in and immediately I thought: ‘Oh great, she is wonderful and normal and easy to get along with, and hilarious and has a great sense of humour and all of that.’”

For Blanchett, meeting Hemsworth for the first time went like this: “Chris really led the tone of the set – he’s a genuine leading man in that role. From the minute I met him, I knew it was going to be great.”

In the interview, Hemsworth and Blanchett discuss family, friendship and making movies together.

Blanchett says she loves working at home and was relieved Thor: Ragnarok was shot in Australia, which was actually suggested by Hemsworth. “Our two eldest children were born in England and a lot of our formative experiences as a couple were in the UK,” she says. “But we remain incredibly connected to Australia – my mother, my sister and brother are all still there. And, of course, our theatre family is there and Andrew’s work. So we base ourselves in the UK and it’s a constant perk, because Australia is incredibly magnetic. I’ve lived it on a daily basis.”

Hemsworth attributes his own character to his upbringing: “I think you advertise what you are for starters. My parents taught us to treat everyone equally and with respect and humility.”

He adds: “I’ve done plenty of other things and thought: ‘I don’t want to spend my life doing this.’ So I’ve got nothing but gratification for what I do.”

Read the full article in Vogue Australia’s November issue, on sale October 30.

via Vogue Australia

SUPERSTAR Cate Blanchett has a confession. Uber-hunk Chris Hemsworth makes her want to throw up — but not in a bad way.

“He makes me want to vomit, he’s so good looking.” Blanchett said of her latest co-star.

“All I want to do when I see Chris is just goof off.”

And the awe is mutual. Asked about working on their new film Thor: Ragnarok, Hemsworth said: “It was sort of intimidating at first.

“Especially in the lead-up to meeting her, I was like, ‘Okay, this is Cate Blanchett’. She’s godlike, in my opinion.”

The Aussie stars, who grace the cover of the November issue of Vogue Australia, play on opposing sides as Hela and Thor in the new blockbuster, shot on the Gold Coast by New Zealand director Taika Waititi.

The Oscar-winning actor admits to being a little surprised at her success.

“When I first went to drama school, I really thought I’d give myself five years — because there were a lot of extraordinary actors in the theatre and I thought: ‘I’m not that strong’,” Blanchett said.

“All I wanted to do was travel with my work and have the respect of my peers.

“I don’t know whether I’ve got the latter, but I’ve certainly done the former.”

via Daily Telegraph

Cate Blanchett interviewed by Harper’s Bazaar Mexico and Vogue Netherlands #SaySì
Posted on
Apr 21, 2017

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.

New photo of Cate Blanchett for Vogue Magazine #TheRow
Posted on
Feb 13, 2017

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:

Posted on
Dec 8, 2016

Cate Blanchett in Givenchy Talks About Holiday Party Dressing

Hello everybody! Cate Blanchett talked to Vogue about her holiday style secret. Enjoy!

01-cate-holiday-style

“It’s all about shoes for me in winter,” mused actress and fashion icon Cate Blanchett, who last night donned a pair of subtly sophisticated black leather stilettos at the Park Avenue Armory for the event celebrating Manifesto, her video installation with German artist Julian Rosefeldt. “This is not typical,” she said of her relatively understated heels, before confessing that the holiday season is making her crave something with a dash of razzle-dazzle. That might explain the midnight blue satin shoes she’s been seen sporting at the airport and around town.

“I’ve been relishing my footwear,” said Blanchett, adding that she has two current favorites: One is a “Roger Vivier semi-sneaker look that is completely sparkly.” The other are distinguished flats in a “patent leather sort of brown-y aubergine [from] AGL. They’re amazing.”

While Blanchett may be focused on fancy footwear, her tailored Givenchy ensemble hinted at the Australian star’s low-key philosophy when approaching other aspects of her holiday wardrobe. “I’m wearing dresses less and less and less,” said Blanchett, noting, “I’ve always loved a well-made suit.” Of course, she hardly expects to have much time to parade her seasonal style around New York this winter. She’s now gearing up for a leading role in The Present on Broadway. “I will literally be onstage or in bed,” said Blanchett with a laugh.

But that hasn’t stopped her from adopting a Marie Kondo–like approach to fashion at a time when others are in a particularly acquisitive mood. “I’m all about divesting,” said Blanchett. “Trading, swapping, coveting friends’ wardrobes.” Any good finds? “I got a really great denim jacket,” she said. “I’m loving the double denim.” No doubt the actress will put her chic spin on that style come Christmas morning.

Via Vogue