Refinery29 published today an amazing interview with Anne, in an article named Anne Hathaway Is Our Kind Of Cool Girl, accompanied with an amazing photoshoot by Guy Aroch.
It seems as if Anne Hathaway has been portraying the fashion elite for as long as she’s been showing up on our screens. From that epic makeover scene in The Princess Diaries (not to mention the corduroy jacket that launched a million thrifting trips across the country) to The Devil Wears Prada, where she literally plays the gatekeeper to the most influential fashion editor of that fantasy world — and does it all in head-to-toe Chanel. Her transformations, too, have always taken a trajectory from plain to pretty — ditching the flannels, big sweaters, and knee socks for frills, ruffles, and glitter. But as Anne has shown in more recent years — and through complicated, nuanced roles that create a multifaceted image of what being a woman is — there’s more than one way to do pretty.
In honor of Anne’s on-screen fashion legacy, her real-world perspective about doing things her way, and our Fuck the Fashion Rules manifesto, we shot Anne in eight designers who might do big frills, big ruffles, and big glitter…but you’d be dead wrong to call them precious.
Check some excerpts of her interview below, and head over Refinery29 for the full article, also to see the video interview (which I cannot embed in here).
Hathaway is, clearly, the normest (and nicest) of normcore. While tooling around Long Island with her, it’s easy to forget that, at 32, she’s among the most accomplished actresses of her generation. In fact, it’s easy to forget that even when not tooling around with her, since social media doesn’t remind us daily that she’s appeared in dozens of films since her 2001 breakthrough in The Princess Diaries, a startling number of them critically acclaimed. She’s toggled between crowd-pleasers like The Devil Wears Prada and intense dramas like Brokeback Mountain and Interstellar. She’s been rewarded with one Oscar win (for Les Misérables in 2012) and another nomination (for Rachel Getting Married in 2008). But, at a time when media attention tends to favor extremes — aspirational goddesses like Beyoncé, selfie queens like Kim Kardashian, and impossibly cool girls like Jennifer Lawrence — Hathaway tries to disappear when she’s not working, a quality that doesn’t translate on Twitter and Instagram.