• 5 hours ago
Director: Gabrielle Reich
Director of Photography: Josh Herzog
Editor: Michael Suyeda
Producer: Michelle Bruno
Associate Producer: Lea Donenberg
Assistant Camera/ Camera Operator: Cindy Chen
Gaffer: Julia Gowesky
Audio: Nicole Maupin
Production Assistants: Molly Klein, Megan Miller
Production Coordinator: Ava Kashar
Production Manager: Natasha Soto-Albors
Senior Director, Production Management: Jessica Schier
Assistant Editor: Justin Symonds
Post Coordinator: Holly Frew
Supervising Editor: Erica DeLeo
Post Production Supervisor: Alexa Deutsch
Director, Post Production: Nicholas Ascanio
Associate Director, Video Talent: Meredith Judkins
Director, Content Production: Rahel Gebreyes
Senior Director, Digital Video: Romy van den Broeke
Senior Director, Programming: Linda Gittleson
VP, Video Programming: Thespena Guatieri
Filmed on Location: Hotel (The Mercer)
Florist: ByEstee

Category

People
Transcript
00:00Hello Vogue, I'm Cate Blanchett and this is my life in looks.
00:07I'm a little nervous but je ne regrette rien, right? Oh my giddy aunt. I think I'm wearing my
00:14mother's sweater and it looks like my school shirt. I'm probably also wearing the underpants
00:20that my mother made me. Until about 10 years ago, I still had the underpants that my mother sewed.
00:26Clearly not wearing any makeup. God bless me. I look like I'm 12. But this was at the Sydney
00:31Theatre Critics Awards and I won Best Newcomer. I was in a production of Olliana and then I loved
00:39it so much I ran the company. I think I might have come straight from rehearsals. Clearly,
00:44I didn't realise I was going to be photographed. Or win. Next. Oh look, this is the very first time
00:52I went to the Academy Awards. I had done a shoot in Australia and I'd fallen in love with this
00:57dress that John Galliano had designed. It was knitted, white knitted and it was embellished
01:01with all this amazing embroidery. And I met him in London and he said that he would design
01:06something for me. And he said let's change the colour. And he sat down, it was like being on
01:11the couch and he asked about my family and my marriage. And then he embellished, I think you
01:17can just see it at the bottom there, there's a little hummingbird. And there's two hummingbirds
01:21on the dress and one was me and one was my husband Andrew. So there's kind of a real
01:25beautiful story. I gave it to Amphar. So now someone else is wearing it, sadly. But anyway,
01:31I love that dress so much. Oh, an A for effort. This is me at the BAFTAs. I played Queen Elizabeth
01:41I. When we made the film, we actually thought we'll have to take the first off there because
01:46maybe an audience would think there was a sequel coming, that it was Elizabeth part one. But it was
01:51Elizabeth I. And I'm glad I'm wearing a slip. I mean, you just take the slip off, I guess you
01:55could wear that today, right? Am I an early adopter of that? Or am I holding something? I've got my
02:02glasses on. Oh, this was a dress that Jean-Paul Gaultier designed. My father-in-law, who's no
02:09longer with us, called it an exit dress. He said, you know, people don't think much when you come
02:14into the room, but when you leave, they go, wow. There was obviously a lot of jewellery Jean-Paul
02:18Gaultier had put on the dress. But Cynthia Bach then provided all of the amazing pieces. I was
02:24playing a psychic in Savannah in a small film called The Gift with Sam Raimi. And I had never
02:30been to a psychic. And I got her to do a reading for me. And she made some predictions, wild
02:34predictions. I'd play a writer who had short hair, who died for what she believed in, Guavin, Guevin.
02:39I played Veronica Guerin. And she said that I would wear a dress that was going to change my career.
02:44And then I wore that. I don't know if it's changed my career, but I'm very pleased I wore it.
02:50Oh, bless. Now, that is my own hair. And that's just me on a Sunday morning in the pond.
02:55Next. In a little-known film called Lord of the Rings, playing Galadriel. I did have someone I
03:02deeply respect say to me, look, they're making this weird film in New Zealand, and they want
03:06you to play an elf for three weeks. You don't want to do that, do you? Yeah, I did. After the film was
03:12over, my husband, he's fallen out of the habit. He sort of does it to the children now. But he used
03:17to drag me around by my ears. It was playful. And so I told the guys at Weta, who did all of
03:22the prosthetics, this. And they gave me, it was kind of creepy, a chocolate box full of ear tips
03:29that they'd made to look like chocolates. And then they bronzed my ears so I could give them to my
03:33husband. That is me on the set of The Aviator, which Martin Scorsese directed. I think it's
03:42between takes, us playing Catherine Hepburn, one of the more daunting things I've ever done.
03:47But when Scorsese asks you to do anything, I'd be a tree for him. That was the first time I worked
03:51with the great Sandy Powell on the costumes. And my relationship with costume designers,
03:57I've realised over time, is really pivotal to creating a character. And obviously, even before
04:02you utter a word, an audience is going to start reading your character by what they wear and how
04:07they wear. And something that Marty did, he liberated me from having to do sort of any
04:12imitation of Hepburn. He played a lot of those early screwball comedies she did. And Bringing
04:18Up Baby was one of them. So I watched that. Catherine Hepburn is so raked in. And then,
04:24you know, you don't plan for these things. And then the film got nominated. And I did. And so
04:28I had to do a lot of red carpets pregnant. And Donna Karan made me this amazing, stretchy dress
04:34that really celebrated the fact I was, I was pregnant. Oh, this is back in 2006 for Vogue.
04:42It's a very memorable shoot. Tony Goodman styled it and Stephen Klein shot it. The clothes were
04:50insane. I mean, this one was another Galliano. The pose was really difficult to hold. And I
04:57learned so much about making a picture, working with Stephen Klein and Tony on this shoot. Next.
05:05Oh, this was the first time I went to the Met Ball. And I went with Nicolas Gasquier when he
05:10was at Balenciaga. So we just shot with Irving Penn that day. And Nicolas had done his take on
05:16an Elizabethan garment. And then we went straight from there, we had to do a quick
05:22360 and then show up to the Met Ball. The theme was Poiret, king of fashion. I mean, I just went
05:28to the exhibition and could have stayed there. It's always so great. I mean, the room is really
05:32vibrant, of course, but it's always important to remember the exhibition and the reason why you're
05:36there. Okay, next one. There we go. Here's the photograph that Irving Penn took. And this was in
05:43Penn's studio. The taking of the picture was incredibly quick. But the sitting and preparing,
05:50it's like I've had the great fortune of being photographed by Penn and by Avedon. It's all
05:55about their regard and knowing when to press the shutter. And so to be beheld by him was just
06:04unforgettable. This was the second time I played Queen Elizabeth in Elizabeth the Golden Age.
06:09The costumes were designed by Alexandra Byrne. I mean, she referenced a lot of haute couture,
06:15and there were a lot of Balenciaga references. And she made one dress that was so enormous,
06:21I couldn't fit through the doorway of the cathedral that we were shooting in.
06:27Hello, Bob! I've worked with the great Todd Haynes a couple of times, and I hope I get to do it a
06:33couple of times more. He's so fantastic to work with. I had literally walked off the set of
06:39playing Queen Elizabeth in Queen Elizabeth the Golden Age on a Friday, wrapped, and then had to
06:45be on set as playing Bob Dylan in Montreal on Monday. Todd had divided Bob's persona, Bob like
06:52I know him, Dylan's persona, into many different characters. And the late, great Heath Ledger was
06:59one of them, and Christian Bale. And I played this electric silhouette. I think he wanted a woman
07:05inside this period of Dylan's musical career. It meant that there was a separation between
07:15how iconic this period and this look of Dylan's was and the character playing. Because you know
07:21there's a woman inside that. But it was so liberating. You know, I had fantastic eyebrows
07:27and sideburns. Is there any time my husband hasn't wanted to kiss me? Oh, this is from Carol,
07:33a Todd Haynes film. I played alongside the wonderful Rooney Mara. And that coat was a
07:40nightmare. Sandy Powell did the costumes again. And once again, I mean, she can do an enormous,
07:45like we worked together on Cinderella, with unbelievable costumes with a much bigger budget.
07:50And then we had $2.50 to pull this one together. And she had two coats. And one was great and
07:57stable. And this one was like a little fragile creature that kept falling apart. And I said,
08:03I'm really sorry, Sandy. I think it's that one. And she goes, I know. I knew you were going to
08:07say that. So Sandy, the great Sandy Powell, was literally behind the car in between every take
08:13because we had to get out and it was really windy. The coat would come apart. And so she was there,
08:17but in between takes sewing it up. I felt a responsibility for this, for sure. Because
08:24films like this, up to this point, weren't really made and certainly not made in the mainstream.
08:31And really, I mean, this is a, if anyone comes up to me in the supermarket,
08:37this is the film that they talk about. And so it was really, really important to a lot of people.
08:42Oh, this is Sarah Burton when she was at McQueen. And it was the most exquisite piece of embroidery.
08:49The bottom, you can't really see there, but it was all feathers. So I love that dress so much
08:54that then during COVID, I presided over the jury in Venice and there was no time. All the
09:01ateliers were closed. So I said, could I borrow that piece of embroidery again? And then I had
09:07a pair of pants and wore it because I thought when you have something so beautiful like that,
09:12I mean, it's a crime to wear at once. It's even more beautiful in person.
09:18At the year I was nominated for Blue Jasmine at the Golden Globes, Mr. Armani had designed
09:24this beautiful privé dress. It was an impossible gown. And you didn't really see the back because
09:30it goes right down to this plunging piece. The back is bare and this beautiful lace,
09:36which has become quite signature. I was on the jury in Cannes and I wore it to the opening night.
09:43And I remember people saying to my publicist, okay, Kate's wearing it. She's worn that dress
09:50before. As if I didn't know. Oh, really? And I was so pleased to wear it again because I'd loved it so much.
09:58Sarah Burton, there she is in Cannes. Sarah made this beautiful, it was like a tuxedo,
10:03but it was a dress and had this massive bow on the back. And it was actually shown on the runway
10:09as a jacket. And she said, why am I trying to turn it into a dress? And so I loved that. And I wore
10:14that again to Sarah's final show for McQueen. Here we are back at the Venice Film Festival.
10:20And this is a Schiaparelli Flummery, which I'd seen on the runway and absolutely loved and managed
10:27not to poke myself in the eye with it. This was an example on tar of the character coming to life,
10:34really. The script by Todd Field was just, he didn't change a syllable. It was so exquisitely
10:39wrought and written. It was like a, how do you make a female conductor look, you know, someone
10:45who is incredibly powerful, you know, very, very aware of her presence. And so we went for this,
10:51I guess what has been termed quiet luxury look, really great tailoring. I've had a couple of
10:57experiences in my life where I've just been so in sync with a director and a script. And,
11:05you know, you're lucky if you have one of those experiences in your life, but I've had a handful
11:09of them and I'm so grateful. And tar was definitely one of them. Music has come back into my life in a
11:16really major way. And that's because of this experience. Here we are. This is Armani Privé.
11:21This is a dress that just keeps on giving. That was from the current Privé collection. And I said,
11:26look, there's, I know there's this leftover lace from the dress that I'd worn to the Globes all
11:30those years before, and they found an off cut. And so they made the internal corset out of that
11:35off cut. It's felt great. And I've since worn it again with the actual piece that goes underneath
11:40it. And I wanted to, I wanted to wear it with a t-shirt, but Mr. Armani wouldn't let me.
11:46You got to respect the maestro, right? Oh, hey, well, this is an oldie, but a goodie. With my
11:53first paycheck as an actor, I bought an Armani suit and this is it. And I wear it wherever I
12:00can. And I think we were there in Milan for a Privé show. Okay. Oh, well, this is at Cannes,
12:08and this is the incomparable Nicolas Gasquier. It's a particular type of beading. So the dress
12:14is incredibly heavy, but such is his mastery that he makes it look so light. And the shoulders are
12:20really big, you know, in the hands of someone else could look really solid, but then he's got
12:24that beautiful drape. But yeah, I can't wait to wear this one again. It's beautiful. This is
12:29Brandon Maxwell. I'm going to Good Morning America. Looking so good. Did my own hair and makeup,
12:35right? That time in the morning. I love a Canadian tuxedo, double denim, triple denim. And this
12:40wasn't actually denim. It was more like a velvet. So it was really comfy and cozy. Oh, once again,
12:47this is also for Borderlands. And I'm obsessed with this Swedish designer. She's taken sustainable
12:52dressing like to a whole new level. And seen this piece that was a dress all done in spoons.
12:59Underneath this is a kind of a cotton netting into which you put the spoons on when you get
13:04dressed and it's backless. And then she put some spoons onto a sort of a suit that I wore for the
13:11disclaimer premiere in Toronto for the festival. I mean, it was a crazy bonkers COVID film that I
13:19made. I really love the films of Khodorovsky. And there was one film of his where they were all in
13:24the desert and the character has these incredible fingerless gloves. I thought it'd be good to have
13:28something on your hand in a close up. Oh, this is the 2024 Rumours premiere at the New York Film
13:34Festival. And I'd seen this and I just thought it was hilarious. It's Fiorucci, I think. I wear
13:40those leather pants like every Wednesday. My favourite pair of leather pants. Yeah, it's a bit
13:44my cousin it. Look, not breathable and don't go near me with a naked flame. This is the thing,
13:51you know, when you think about re-wearing something, you think how could I wear it? It would kind of be
13:54cool as a skirt. Black bag. Working again with Steven Soderbergh, one of the most stylish
14:01filmmakers around. And Ellen Miroshnick, who is one of the greatest costume designers. And I play
14:07a spy. And the only thing Steven said to me is,
14:12I want big hair. It's a great film and really fantastic cast.
14:16Thanks, Vogue. That wasn't so painful after all.

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