Kirsten is the September cover girl of Gotham magazine, and on the issue she chats with friend Julianne Moore about her upcoming film and TV roles, favorite directors, and how taxis can be a girl’s best friend when dealing with New York paparazzi.
On the movie role closest to her own character: “When I was 16 and did ‘Bring It On.’ I was that girl. It was like me being in high school as myself. It wasn’t a stretch at all. I was a cheerleader, my best friend was a cheerleader. I wasn’t in competitions, but I watched them on TV.”
On being the first major celebrity to wear Rodarte: “I have worked with these stylists, Nina and Clare Hallworth, since I was very young, and they introduced me to Rodarte’s clothes. Then I met [designers Kate and Laura Mulleavy] and we became fast friends.”
On the best fashion advice she’s ever received: “I don’t think I’ve ever gotten advice. It’s more that I had really good influences. When I was 16, I was working with Sofia Coppola, who is one of the chicest women I’ve ever met. And my mom was always into fashion. She lived in Germany for 10 years and had a lot of old Kenzo in her closet.”
Kirsten is currently featured on September issue of Town & Country magazine, in a beautiful photoshoot by Cedric Buchet that you can find in our gallery.
On the interview, Kirsten is speaking out about what she calls the “unfair” and “really ridiculous” expectations that actors have placed on them today.
“What people expect of an actor is totally ridiculous, it’s unfair that an artist is expected to speak really well in public and have skin tough enough to withstand sometimes really hurtful criticism, but also, in order to do the job, be really sensitive and in touch with their feelings.”
Kirsten says she’s learned to get through it by staying true to her personality. “So all you can do is be yourself – just be who the hell you are”.
Dunst says that a changing mentality in Hollywood has helped make things better for women in the industry. While on set for the Spider-Man movies in 2002 and 2004, the actress felt like she was in an all-boys club, but she says her recent projects have been different.
“But the older I get, the less I feel that way. What I’ve found is that the cool guys now want to hang out with the cool girls,” she says.
She also opens up about her love, actor Garrett Hedlund, in the interview.
“We’ve been together for three and a half years, so, yes, it’s going really well. We’re the same age. We have similar backgrounds,” she says, adding, “He feels like family to me.”
Read the full article on Town & Country magazine and come back later for scans.
My friend Renee sent in some outtakes of two gorgeous photoshoots Kirsten did in 2011 and earlier this year. Check it:
Kirsten is on cover of online magazine The Edit, in a beautiful spread by David Bellemere. Check in our gallery digital scans, photoshoot and the behind-the-scenes video screencapture. Also below the video and interview.
The Escape Artist
Ever since starring in her first major movie aged 12, KIRSTEN DUNST has lived her life under Hollywood’s glare. But from bold film choices to refusing to get her teeth ‘fixed’, the actress has always played the fame game on her own terms, finds CELIA WALDEN
Kirsten is on cover of Flaunt, with a beautiful shoot by Jason Hetherington and styled by Leith Clark. She tweeted the photo cover a few days ago and now you can get your own issue. Scans will be up asap.
Kirsten Dunst is so alarmingly unassuming that, at first, I don’t even notice her standing beside me in a fuzzy pink sweater and blue jeans. She is, perhaps, the kind of performer who can easily swing from red carpet premiere all the way down to our current location: an emptied rave maze in Stoke Newington, with its box office-style marquee that often reads something to the effect of “Nelly’s Dirty 30.”
I lead to the second floor—she’s soon laughing off the spilled coffee I put down my leg negotiating the stairs—in search of a spot to settle for our interview. We lean about the deserted, stripped-down rooms, each space dressed with an orderly disarray of paraphernalia; electric blue glitter-paint Monkey bikes idle beside salvaged mannequins, and, all around, monumental lighting fixtures moor to the bare floors, readied for the shoot later.
Finally we’re colluding around a table on this East London roof terrace talking Dunst’s latest picture, until the uncharacteristic morning heat pushes us into an adjacent—though no less spartanly—lounge.