Kristen Stewart, the Good Bad Girl
You know the actress from her films. The real Kristen Stewart — funny and fiercely open — is only just emerging. That took years of work.
Back then, when she was known as the star of the “Twilight” films, the idea of living in a world without emotion might have perhaps appealed to her. That’s the premise of her new film, “Equals,” which is about a futuristic society where humans have been stripped of feelings because they cause too much physical and mental anguish.
But now, at 26, Stewart is repelled by the idea of withholding emotion. In fact, it’s something she’s often not even capable of.
“She cut that Chanel T-shirt herself. It was her idea,” Pica said of the white-on-white skirt-and-shirt ensemble Stewart wore to a photo call for Allen’s new movie, in which she costars with Blake Lively and Jesse Eisenberg. (True to form, Stewart removed her black-and-white pumps promptly after it was over.)
“I think the way Kristen approaches glamour and being a movie star is really refreshing,” Pica added hours later while prepping Stewart for the film’s evening premiere. The actress, too, was uncharacteristically excited. “I really love this particular red carpet,” Stewart said as Abergel texturized her newly peroxided cropped hair before fashioning it into a deep side part. “I know that sounds obvious, but I don’t get that impending doom feeling in my gut. I’m really elated to be here—and we all want to annihilate this look.” Mission accomplished. Here, Stewart, Abergel, and Pica break down Stewart’s one part Old Hollywood, one part “Gwen Stefani in the ’90s” beauty moment, live from Cannes.
The Café Society actress opens up about why she chooses to remain vague about her sexual orientation in the debut issue of Variety Magazine’s new redesigned format.
“Me not defining it right now is the whole basis of what I’m about,” she says. “If you don’t get it, I don’t have time for you.”
The actress, 26, says she’s been inspired by the way young people are able to love and view each other without labels.
“There’s acceptance that’s become really rampant and cool,” she said. “You don’t have to immediately know how to define yourself.”
Though she admits she struggled with the pressure to put a label on her herself while growing up, Stewart says she now believes in the idea of sexual fluidity.
“I had to have some answer about who I was. I felt this weird responsibility, because I didn’t want to seem fearful. But nothing seemed appropriate,” she explained. “So I was like ‘F—, how do I define that? I’m not going to.”
And while she says the LGBT movement is “so important” and something she wants to be involved in, she’s careful not to send the wrong message to people who might be struggling with their own sexuality.
“I didn’t want to be this example: it’s so easy,” she explains. “I don’t want it to seem like it was stupid for them to have a hard time.”
div align=”justify”>2016, the year of Kristen Stewart with five movies announced including Woody Allen’s new one, opening the Cannes Film Festival. Choices that say who the American actress and Chanel muse is. A young woman who – from look to sexuality – masters the codes of her time and knows how to plays with them without limiting herself by doing so.
Kristen Stewart knows what she wants: to not be bored and for no one to fuck with her. She don’t say it that way, but still said it. As her romance with the singer Soko fills the columns of the tabloids, she’s in a very alert mood. It’s 10am in Los Angeles, 7pm in Paris, the voice of the very beautiful Chanel muse turns the phone call into some bumpy ride. A rough journey, that’s worth the effort. Kristen Stewart is rock’n’roll. Smart, clear-headed, wild, she acts like she breathes. In the short film ‘Once and Forever’, real-fake shooting done in 2015 by Karl Lagerfeld, she was a young bratty actress portraying Gabrielle Chanel. Muse of the fashion designer since already two years, Kristen has the (pretty) world at her feet. Woody Allen gave her the main feminine role in ‘Café Society’, which will open the Cannes Film Festival. Olivier Assayas shot her in ‘Personal Shopper’, two years after ‘Clouds of Sils Maria’, which led her, big first, to win the César for Best Supporting Actress. Twilight is far behind. The baby star has become an American figure that we love, an arty muse who plays the game. Her own.
So says Kristen Stewart, who smolders like some Italian movie star of yore in Chanel’s campaign for its “Paris in Rome” Métiers d’Art collection, lensed by Karl Lagerfeld, one of her most enthusiastic champions.
“She is a real personality. I don’t compare her to any other actress and she is really modern, whatever that means,” Lagerfeld said in an exclusive interview. “And I think that she is perfect for the Chanel image of today.”
Slated to make their debut in June magazines, the ads mark the latest collaboration between the American actress and the German couturier, telegraphing their mutual affection.
“Karl directs photo shoots and always provides an environment for a story to unfold. And the way that occurs is very natural. But always under his guidance, which is felt and inspiring,” Stewart told WWD. “It’s never labor intensive because that is against the nature of spontaneous art.”
Still, Lagerfeld left nothing to chance for the backdrop, bringing in his own Art Deco furniture by Louis Süe and André Mare, co-founders of the Compagnie des arts français, to decorate the location, a large Parisian apartment.
Her hair tousled, a shoulder exposed here, toned gams visible through lacy tights there, Stewart resembles a sultry celebrity — a wink to the show, staged last December at Rome’s hub of Italian film, Cinecittà.
“She is an actress and she is very actress-like, which I love,” Lagerfeld said about Stewart as he flicked through images on his iPad Pro. “This a photo of an actress of a period which does not exist any longer, the kind of movies they don’t make anymore and [Kristen] got it naturally. We did it in one evening.”
“It went very smoothly,” he continued. “She knows us, she knows my whole team so that makes a big difference. For me, working with people I really know is no problem: There is no questioning; there is no drama. We are used to each other so things come naturally.”
Lagerfeld’s mind went to Yvonne Furneaux, a largely forgotten French actress who appeared in Federico Fellini’s 1960 classic, “La Dolce Vita.”
“The hair gives an idea of the period,” the designer said, hastening to add: “This is not a retro collection. It can be a kind of evocation in the air, but it should stay there.”
Lagerfeld cottoned onto Stewart early in her career, captivated by her beauty, talent — and moxie. He cast her as a young Gabrielle “Coco” Chanel for an 11-minute film he screened in tandem with the unveiling of the Paris in Rome collection, paraded in studio No. 5, naturally.
In it, Stewart portrays a fiery young actress brought in to portray the legendary designer in a biopic — only to lock horns with practically everyone on the set, exploding with anger and expletives.
“I like the whole package. I like her expression, I like the toughness of the attitude, everything,” Lagerfeld said. “She is a really good actress. I like tough women who can scream, who can be mean. For men, I hate that; for women, I love it.”
The actress’ screen credits include “Panic Room,” “Into the Wild,” the “Twilight” series and “On the Road.” She will be seen next in Woody Allen’s “Café Society,” being screened on the opening night of the Cannes Film Festival next month, as well as “Personal Shopper,” directed by Olivier Assayas, and “Billy Lynn’s Long Halftime Walk,” directed by Ang Lee.
For Chanel, Stewart was the face for another Metiers d’Art campaign, showcasing the Paris-Dallas collection in 2013. She has also appeared in Chanel campaigns for eyewear, the 11.12 handbag collection and for an eye makeup line, the latter photographed by Mario Testino.
Yet Stewart ranks the Paris in Rome shoot as the best yet.
“Wearing the clothes from the show was my favorite experience yet working on campaign shoots with Chanel. The set was so complete and transportive. The clothes within that environment came to life,” she said. “I loved the show; it blew me away. Truly one of my favorite collections yet and I’m so, so happy to be in them and find their stories.”
The Métiers d’Art collection, introduced by Lagerfeld in 2002 as a way to exalt the specialty couture ateliers Chanel owns, ignited the pre-fall frenzy and has become one of the brand’s most important deliveries, backed since 2009 by dedicated advertising campaigns.
AnOther : “Parties and magazines have always gone hand in hand, and never more so than in the history of AnOther Magazine,” Jefferson Hack writes in the editor’s letter which opens the issue. “There have been costume-ball parties, private house parties, parties in libraries, after-hours parties, contemporary art parties, rooftop parties, regal garden parties, private boat parties, parties at off-grid locations, modern dance parties and even movie premiere parties.”
It makes perfect sense, therefore, that the 15th anniversary issue of AnOther Magazine takes the form of a party – a raucous but intimate, exuberant but reflective celebration of the most provocative and captivating people, ideas and attitudes of the moment. And to lead the proceedings, our four unique cover stars act as dream party hosts – each of whom defines the AnOther woman. Meet our hosts here.
Actress Kristen Stewart’s rebellious energy is given a romantic twist in photographs by Paolo Roversi, styled by AnOther Magazine’s Fashion Director Katie Shillingford. Accompanying the shoot is a Parisian tête-à-tête with actor and artist Benn Northover, in which the pair consider the strength of focus and subversive spirit which have landed Stewart supporting actress trophies from the New York Film Critic’s Circle and the César awards.