Cara Delevingne

[Shepherd]

^ HQs

 

 

[Siemgi]

All the Emmys...

[BlueJasmine]

Holy... she's really good 

[MiniMia]

Preview of Cara Delevingne (by Mario Testino) for Burberry, Fall/Winter Campaign, 2014 (also with Malaika Firth, Suki Waterhouse, Callum Ball, Tarun Nijjer & Oli Green)

 

 

 

[ToniGarrnMania]

One of the well-written model interview/stories if read in many a year (from www.theguardian.com/fashion/2014/jun/15/cara-delevingne-model-interview):

 

 

 

Cara Delevingne: 'I'd love to punch a photographer, I dream about it at night'

 

21-year-old Cara Delevingne is the hottest model around right now. Her signature look? Crossed eyes and a stuck-out tongue. She talks about 'creepy' fans, ditching the catwalk for acting and punching the paparazzi (in her dreams)

 

It seems fair to say that the launch of a Sky Arts show seldom attracts this much attention. Outside the central London hotel where two episodes of Playhouse Presents are about to be shown to the press, there lurks not merely a solid phalanx of paparazzi, but a sizeable group of girls in their early teens, all craning to see if they can get a look into the lobby, where the object of their interest lies: Cara Delevingne.

 

The 21-year-old model and tabloid fixture is co-starring in the drama Timeless in her television debut, a state of affairs judged important enough for Sky to bill her above established actors Simon Callow, Matthew Perry, Jane Horrocks and Richard Wilson in the press release accompanying the series. You could view that either as a terrible affront to the assembled acting talent or a pragmatic decision based on the fact that, at this moment in time, Delevingne is more famous than every one of them.

 

I've seen teenage girls doggedly following rock bands, or pop stars, or heart-throb actors around, but I've never come across teenage girls following a model around before. I suppose there's no real reason why the latter is any weirder than the former, but it somehow feels that way. Weird, but, it seems, not uncommon, at least in Delevingne's case: these days, the press follow her everywhere, she says, and so do the fans, alerted to her movements thanks to social media. "I was just in Scotland, and they knew: 'Oh, you were in Inverness this weekend.' I was like: 'How did you know that?' and they said: 'Because someone who was in the bathroom with you tweeted it.' It's just creepy, things like that, someone in a bathroom stall." Given all the gurning she does in photographs, there's something surprising about how softly spoken she is. "When I was growing up, I was fans of so many people in music and acting, but it's a different kind of fandom now, it's like they're obsessed. They find one person they obsess over and they follow them – they have to know everything about their lives, because you have that access, Instagram and Twitter, you can literally be a part of their lives. So they get one person and that's it. It's really changed things. It's kind of scary really."

 

In addition to the photographers outside, there are more photographers inside the hotel. Delevingne says that she fantasises about one day punching one – "I'd love to, I really would, I'd be so happy, I dream about it at night" – but she seems happy enough posing for them, which involves much pulling of faces on her part. She pretends to push over a grandfather clock while winking, sticks her tongue out, waves her arms in the air and flashes peace signs with both hands while popping out her eyes. It's all faintly exhausting to watch, but then pulling faces is apparently vitally important to Delevingne's personal brand.

 

It's barely two years since her modelling career really took off: she had been modelling since she was 10 – her first job involved hats and Vogue magazine – but was spotted in 2012 by Burberry's Christopher Bailey while working part-time in the office of fashion website Asos. In that time, Delevingne has ascended not merely to vast success within the fashion world – in last year's spring/summer season alone, she walked 39 different shows – but to a level of wider celebrity that seems faintly terrifying: earlier this year, she was improbably sandwiched between Richard Dawkins and Iain Duncan Smith in the Sunday Times' list of the Makers of the 21st Century. A lot of ink has been spilt trying to pinpoint exactly why, and some of the conclusions drawn can make your brain hurt. One fashion magazine suggested that her "itness" had something to do with breeding: chief among the Delevingne line's important genetic traits was the fact that "they are excellent at going to parties". But the one thing everyone seems to agree on is that pulling faces is central to her appeal. She says it began as a "defence mechanism" – "it gets you out of so many sticky situations" – but it has now become the means by which Delevingne communicates her sense of fun, in a world where most models seem to adopt a bored, peevish expression of someone queuing to return a faulty toaster in Argos.

 

"As a model, I really stand for not being a model, if that makes sense," she says. "When I started, the whole idea of the model was very different, it was a bit stuckup. Not stuckup, but no one was trying to have fun, or not even have fun, but be willing to smile." Furthermore, her public displays of goofiness are held to be the reason a huge chunk of her 1.68-million Twitter followers are steadfast in the belief that Delevingne is a normal girl, just like them, a person in whom they can confide. For all her apparent reservations about social media, she seems to be on Twitter almost all the time, talking to her famous friends, doling out motivational quotes. When her career took off, she says, young girls got in contact with their problems, "parents going through stuff, family issues, problems with their friends, eating, drugs, boyfriends, getting bullied is such a big one, and I used to help them".

 

This, despite a wealth of evidence that suggests that if Delevingne were any less like your average British girl, she'd be bright green and sport antennae. Her father is a property developer, invariably described as "a man about town" in magazines such as Tatler. Her mother was a model, a heroin addict, and is now a personal shopper: Kate Middleton is rumoured to be among her clients. Her maternal grandparents were, respectively, the managing director of the Evening Standard and the Daily Express and a lady-in-waiting to Princess Margaret. She grew up in a £10.5m Belgravia house that had previously belonged to John Aspinall, rightwing crank, pal of Lord Lucan and owner of the Clermont Club. She has two elder sisters: Poppy is also a model; Clara's first wedding took place in St Paul's Cathederal. As a child, Delevingne can remember refusing to speak to Madonna when she popped round because she was too busy watching TV.

 

Quite aside from modelling, she was alighted on by Simon Fuller as a prospective pop star when she was 16: "I guess he went through all the models and wanted to see if anyone had any, like, other talents. I recorded a lot with him. What upset me most was that I wasn't there for the production of it, and that's really important to me." She still harbours musical ambitions, playing the drums and guitar, although getting to the bottom of exactly what her music might sound like proves a bit of a struggle: "It's all very … it's usually quite jazzy, quite soulful ... My voice is very husky. It's always about emotions. Well, usually anyway. I'm just not into happy-clappy pop. Unless it's happy-clappy pop in a good way."

 

You might feel inclined to pull a few faces of your own at all of this: the connections and privilege and money; the pretty pass that modern celebrity has become when you can achieve media ubiquity by sticking your tongue out and crossing your eyes whenever a pap takes your photograph. But even so, it's hard not to boggle at the level of fame Delevingne has attained. Even before she gets to the Timeless premiere, the Mail Online has run two news stories on her that day: the first detailing what she was wearing in the morning, the second furnishing a grateful world with the news that she'd subsequently changed her outfit and taken her sunglasses off.

 

She rarely gives interviews – in fairness, it's not like she needs the publicity – and thus my meeting with her is considered to be a very big deal. It's moved at the last minute from Soho to a venue nearer her home, where a variety of people from her modelling agency, Storm, position themselves within earshot. Furthermore, it comes with conditions attached: I am not allowed to mention her love life, which has previously involved alleged relationships with Harry Styles, Jake Bugg, her on-off best mate Rita Ora and is currently rumoured to involve the actor Michelle Rodriguez. As it turns out, I'm also not allowed to mention the incident last year when, in full view of the ever-present paps, she dropped what looked like a bag of cocaine on her front doorstep: when I do, a woman from Storm hurtles across the room and draws the interview to a close.

 

The thing is, I couldn't care less whether Delevingne takes drugs or not. Frankly, I wouldn't blame her if she did: if I were her, I'd probably spend my every waking hour in a state of advanced stupefaction, in an attempt to try to obliterate the thought that the Mail Online is permanently camped out on my doorstep and people are tracking my every move on social media. But what is interesting is how lightly the press treated the incident. At the time the tabloids were nearly herniating themselves in order to expose lesser celebrities' chemical proclivities – the Sun went to the bother of flying Tulisa Contostavlos to both Las Vegas and then LA as part of a sting operation that eventually extracted the information that she knew someone who could get hold of some coke – but the matter quietly blew over. Depending on your perspective, that either tells you something about wealth and privilege or about the fact that Delevingne is so popular and so valuable to the celebrity press that it's better not to rock the boat. She concedes that the press has thus far "been pretty fucking nice to me", but professes bafflement as to why she has become so successful – "because I'm lucky and I made the right decisions? I don't know, I have no idea" – and is dismissive of her status as a style icon: "I always wear the same frigging things, jeans and leather jacket and a beanie and some trainers. Even at school, some people were always like: 'Oh, you can't wear the same outfit twice in a week", or whatever, and I was like: 'What? It's just clothes.' It really is just clothes."

 

I suspect this is one reason why people seem to like Delevingne so much: she's so dismissive of the fashion world that made her famous. You might reasonably point out that someone born into wealth can afford to be dismissive of their job. Even so, it's an industry that holds itself in such po-faced high regard that it's hard not to warm to someone at the centre of it who implies that she thinks it's sorely lacking. If her daughter wanted to become a model, she says: "I'd say no, if that's all she aspired to. You know, I get a lot of girls who say, I just want to be a model so badly. And I think: you can do better than that. I mean, look, I do love it, I'm not saying anything bad about it, I just think you can do a lot more. I was incredibly lucky to do as well as I've done, it's not easy, there's so many models go through so much shit, and it's just, if you have a brain, which everyone does, use it and try and do something else."

 

She says she only became a model in the first place to earn money to put herself through drama school: despite the fact that she still lives with them, she claims her parents stopped supporting her financially when she was 16. When she first started modelling, she carried a video camera around with her, to record "all the weird parts of it". "You're looked through, you're not looked at, you are treated as a kind of mannequin. I got a tattoo saying Made in England above my foot to represent that, that I felt like a doll for so long. Because you are just a kind of puppet, you know, entertainment. You kind of feel that you need to have no soul really, to do that job, a little bit. But then it gets better and people actually want to hear your opinion and it's the most shocking thing in the world when that happens. It all changes: 'You used to treat me like shit and now you suck up to me.'"

 

Still, she says, modelling got her into acting, "so I can't complain". Her early forays into film were pretty much what you would expect, including a cameo in Anna Karenina that required her to do little more than stand about looking beautiful and something called Kids In Love that sounds absolutely ghastly: a coming-of-age drama about Notting Hill rich kids "imitating art and enjoying a fast-paced lifestyle". Its production was presumably aided by the fact that the director's dad owns Ealing Studios. But she's not bad as the partner of an Iraq-bound soldier in Timeless: perhaps a bit plummier than you might expect a squaddie's wife required to live with her irascible great-grandmother in a tiny house to be, but certainly nothing like the disaster the world has come to expect from supermodels demonstrating their polymath abilities. And the parts appear to be getting better: she's just played Keith Talent's wife in the film adaptation of Martin Amis' London Fields and has a role in the forthcoming period drama Tulip Fever.

 

"I knew I was going to have to fight really hard to do it, because I had to prove myself. Most people have that stigma: she's a model, can't act, we don't want you in our movie. People say to me: 'The money's probably not enough, it's not the amount of money you usually get paid.' And I sit there going: 'No, that's not the point, I would pay to do this film because I care about it so much.'"

 

She says that giving up modelling to act would be "blissful". Conversely, if acting doesn't work out, "… would I be happy to carry on modelling?" There's a long pause. "Um, yeah." Then she has another thought. "You know what? If that happens, if I've made a fair bit of money or whatever, I can stop and I'll do music. I will cut six months out of the year to make an album. That's the point. I can't just here and there do recording sessions, you've got to stop and you get rid of everything, all the shit that's going on around you and actually lock yourself away and do it." She sounds more impassioned than she has in the whole time I've been with her. "And that's what I'd fucking love to do. And when this shit doesn't work out, yeah, I will block that out and do it. That's what I'm waiting for," she says. "For the kind of time I can use." Over her shoulder, out of the window, I can see the photographers amassing once more around the hotel's entrance.

[DariaDeva]

Cannes 2014

[DariaDeva]

Fragrance "My Burberry" by Burberry 2014

[DariaDeva]

The supermodel recently added two new tats to her growing collection earlier this week, trading out the black ink for the more-demure white.

"Cara got white tattoos," Bang Bang, the celebrity tattoo artist responsible for Cara's latest body art, told E! News exclusively. "She got a dove in white on her finger. She also got 'Breathe Deep' on her bicep."

And it would seem that the supermodel is indeed hooked on body art. "I met her 18 months, and now she's got 14 tattoos," Bang Bang revealed.

[models990]

Oh my the new burberry with kate , so excited To see the final results  !

[MiniMia]

Cara Delevingne (by Mario Testino) for Vogue US, July Issue, 2014

 

   

[ToniGarrnMania]

Blessed @johnhardyjewelry #bali

 

instagram.com/caradelevingne

[PinkCouture]

hautelook.com

[mpsm69]

goddess!

[DariaDeva]

Cara Delevingne: Everyone's Favorite Rebel Model in Sixties Mod

by Plum Sykes | photographed by Mario Testino

(Vogue USA July 2014)

The absolute It-est—if that’s a word—of London It girls, Cara Delevingne, is nowhere to be seen. It’s a late-spring morning, and Cara has arranged to meet me at Grace in Belgravia, the most exclusive spa in town. 

I wait in the cavernous café area and sip a delicious green juice. Still no Cara. A staff member calls her. She’s minutes away.

At half past ten, a ravishingly disheveled, exquisitely beautiful girl strolls in. Here is Cara, politely, very Britishly shaking my hand. She is tall, with a sporty, slim physique. Her face—well, it’s more divine in real life than in any photograph. Her eyes, set wide apart, an eerie pale-green color, are the shape of a Siamese cat’s, her dark eyebrows are scruffily unplucked, and her slightly olive skin has the suggestion of a tan. Her dark-blonde hair, which she later tells me she highlights only once every eight months with either Orlando Pita in New York or Neil Moodie in London, is unbrushed, a lion’s mane. Her adorable snub nose gives her, at 21, a childlike look.

“Hello. Nice to meet you,” she croaks.

Cara has overslept. “I always wake up ten minutes before I have to be anywhere,” she explains. Luckily she lives around the corner with her parents, so she hasn’t had to tumble too far. 

 

Cara’s parents are one of London’s best-connected couples. Her mother, Pandora, herself a famous society beauty, is the daughter of Jocelyn Stevens, former publisher, chairman of English Heritage, and good friend of Princess Margaret. Pandora has raised her three daughters (Cara has two sisters: Poppy, 28, a model, and Chloe, 30, a biomedical-science graduate) and worked as a personal shopper at Selfridges. It is rumored she has helped dress the Duchess of Cambridge for duty. Cara’s father, Charles, a property developer, was a “debs’ delight” in his youth. His grandfather was the politician Hamar Greenwood, and his late aunt Doris Delevingne was a society figure close to Winston Churchill. In other words: You couldn’t have groovier parents.

Charles, says Cara, heavily influenced her own style. “He wears stuff like very bold-colored trousers with a different-colored suit jacket, and then makes jokes about it, like, ‘My trousers are yellower than my teeth.’ He’s a very funny man.”

Cara’s look today is hipster girl-about-town—cropped Burberry jacket in the heaviest, softest leather bedecked with gold hardware, emerald-green suede Acne drainpipes, a maroon McQ sweatshirt appliquéd with silver birds, black chunky Chanel high-top sneakers, and a Mulberry “Cara” bag, which she codesigned with the company in whose quirky ad campaigns she has starred for the past year. She wears her clothes with such insouciance that she literally makes you want all of them. 

Her personal style—and personality—is a huge part of Cara’s appeal. She is not averse to arriving for a show dressed in an animal-suit onesie. She can pull off red-carpet glamour, with her numerous tattoos peeking out from under an evening dress, with true British cool. Her day-to-day look—variations on the theme of jean shorts, T-shirts, crazy sunglasses, and beanie hats—is her signature and has inspired groups of look-alikes who pop up outside fashion shows. Her parents’ home, she says, is becoming clogged with piles of unopened boxes of hats and T-shirts sent by admiring brands. 

She flops onto a buttoned sofa. “I’m just so tired!” she says. She certainly seems weary: The catlike eyes have undisguised dark circles underneath. During the previous week she had flown to Shanghai and back for Burberry, then to Scotland for Mulberry’s campaign shoot, and had gone out with Kate Moss, helping her friend promote her new Topshop line. She thinks she might have been to L.A. just before that but isn’t sure. 

She strides up to the bar and orders a Breakfast Booster drink, then sits down, bringing a bowl of kale chips with her. “You’ve caught me in a funny moment,” she says. “Until a month ago I was eating pasta, pizza, pancakes. I’ve just discovered nice food. I didn’t know what quinoa was, and now I love it.”

We discuss our plan for the day. “Let’s go to Hackney City Farm this afternoon, and I can play with the animals!” she cries, suddenly enthusiastic. She has just “made friends with a baby lamb in Scotland” while she was shooting Mulberry. The shepherd named it Cara. After the farm trip, Cara said she’d go out with me that night to an art opening I’d been invited to.

But, she asks, can we both start our day with a massage? She wants to be relaxed for the interview. And she wants me to be relaxed for the interview. “I never used to go to the gym, and now I’ve started working out properly,” she says. “I’m in pain from too much kickboxing.” She’s having to get fit for a film starting imminently. “I love acting,” she says. “I do it as a hobby. If I was able to have that as a career. . . . Hopefully the fashion thing is a stepping-stone. I was so worried when I started modeling that it would hinder my chances of acting.”

Others might see Cara’s “stepping-stone” as the Giant’s Causeway of fashion. In the last couple of years she has walked multiple global runways, appeared on numerous magazine covers, been cast as a face for everyone from DKNY and Yves Saint Laurent Beauty to La Perla and Fendi, and picked up more than five million Instagram followers en route. Along with Kate Moss, Cara is the face of Bur­berry’s new fragrance, and she has landed the Chanel campaign for spring 2015. 

The “hobby” is not going badly either. Starting with a small part in Joe Wright’s Anna Karenina in 2012, Cara has since made several films, to be released over the next year or two. She plays a lead role in Michael Winterbottom’s The Face of an Angel alongside Kate Beckinsale. Winterbottom had no idea who Cara was when she was suggested for his movie. He says, “I needed someone to be full of life, energy, hope, and optimism. To represent what it is to be young and alive—Cara is that.” Other upcoming films include Mathew Cullen’s adaptation of Martin Amis’s London Fields with Amber Heard and Billy Bob Thornton; Chris Foggin’s Kids in Love; Mandela director Justin Chadwick’s seventeenth-century romanceTulip Fever; and a new Joe Wright project, Pan, in an ensemble that includes Rooney Mara and Amanda Seyfried. When I ask if she is playing Tinker Bell, Cara smiles and says, “I’m not allowed to say.” 

Every spare moment, she tells me, is spent auditioning. “I’d love to work with Tarantino, Scorsese, Sofia Coppola—all of them! I love thrillers and action movies. I love good horror films. I watched them so much when I was younger that I find it impossible to get scared.” She has never forgotten the exhilaration of seeing the audience’s faces when, in her acting debut at age four, she sang her lines as Mary in a Nativity play. “I just wanted to be like J.Lo when I started. The last thing I want to be is a model-slash-actress,” she says. “But I love actress-slash-musicians.”

We head into our massages, and as I am pummeled, I contemplate Cara’s career. Designers, starved of models with character, are hooked on her charm and jokey persona.

“Cara makes everything look modern and right . . . a kind of young Coco, but free and not bourgeoise,” says Karl Lagerfeld. Burberry’s Christopher Bailey remarks on her “instinctive understanding of how to communicate, engage, and interact with her friends, followers, and fans.” The public loves seeing her goofy selfies on the Web. “When I make faces,” she tells me, “it’s because I don’t know what else to do,” adding that she feels silly taking pictures of herself trying too hard to look perfect. Her tendency to perform cartwheels backstage at shows is to dispel nerves and anxiety. The first time she opened the Burberry show, she says, “I freaked out.”

An hour later I await Cara on a wicker lounger. I am definitely relaxed enough for the interview. I read a magazine, have some tea, look at the time. Fifteen minutes pass. No Cara. Half an hour. Finally a masseuse appears and whispers to me that Cara has fallen asleep. “I went to take her some water after her treatment and she was out. Shall I wake her up?”

Dear reader, to misquote Oscar Wilde, can I say that to oversleep once for a Vogue interview may be regarded as a misfortune, but to oversleep twice looks like carelessness? It would turn out to be my own misfortune—some would call it carelessness—that I replied, “She seems really tired, and we have the whole day. Let’s let her sleep till lunchtime.”

The minutes tick slowly by, until another masseuse approaches. The whisper this time: “Cara’s friend is waiting downstairs for her. She’d like to speak to you.”

Downstairs I am greeted by a woman in her mid-20s: Cara’s personal assistant. Apparently we are not going to the farm; Cara is doing ADR—additional dialogue recording—this afternoon for a movie. Then she has hair and makeup, followed by a fitting for her Met-ball outfit with Stella McCartney, a Fendi-store launch party, and dinner with Karl Lagerfeld. This is Cara’s life now. She’s barely in one place long enough to take a nap.

Cara finally appears, looking refreshed after her rest. “I’m so sorry!!!” she exclaims, collapsing into a chair. “I fall asleep everywhere! Someone recently asked if they could publish a book of pictures of me sleeping, because there are so many.”

She is soon whisked off to her next appointment, and I return home, wondering when the sleepy supermodel will get her next kip. I call photographer Tim Walker, who has worked with Cara many times. “Every shoot I’ve done with her, she’s fallen asleep,” he tells me. “She slept for seven hours on one Mulberry shoot.” Tim has been pondering her Internet fame, too. “I have a theory that it’s to do with the fact that she looks like something from a Disney film. Disney really works well with that generation. She’s the Instagram Bambi.”

I decide to go out anyway that night, to the art party.

“Cara overslept for the interview,” I tell the babysitter.

“Of course she did,” replies the babysitter. “She was out last night with Lily Allen. It was on the Web.”

At the party for Polly Morgan, a sculptor, I gulp down a much-needed gin-and-tonic and chat with artist Mat Collishaw. 

“. . . and then she fell asleep after the massage,” I say.

“Of course she did!” says Mat. “She was out till five.”

So this is what the wildly successful, hugely in-demand, overtired, overworked supermodel and soon-to-be leading actress is really famous for in England: inspiring a new national sport, checking out what Cara Delevingne got up to the night before.

A few days later, I talk to Cara on the phone. I ask if her reputation for partying—evidenced in endless photographs of her with everyone from Rihanna and Rita Ora to Mario Testino, Emma Watson, and Michelle Rodriguez—has anything to do with her tiredness. “Well, the going out is more to do with the fact that I am literally jet-lagged all the time,” she says. “I can’t sleep in the evenings. Most of the pictures people see of me are me going to work events: a Fendi dinner one night, a Prada dinner the next, and working all day. 

“Actually,” she continues, adorably ingenuous to the last, “compared to anyone else my age that I know, I really go out so little.”

[JazzyJas2.0]

Perfect ♡

[Shepherd]

Out & about, London, Jun 27 '14

 

[DariaDeva]

^ thank you so much