Cate Blanchett's custom Louis Vuitton BAFTAs look was made using deadstock.
Cate Blanchett at the BAFTA Awards
The 'Tar' actress walked the red carpet at the EE British Academy of Film Awards in London on Sunday (18.02.24) in a high-necked crepe-jersey claret dress teamed with a gem-encrusted choker that unfurled into a two-strand body chain of Tahitan pearls, and there was a strong message of sustainability in the creation.
Nicolas Ghesquiere used the fashion house's existing stock to create the gown, which took 150 hours, while Francesca Amfitheatrof, Louis Vuitton’s artistic director of watches and jewellery, rearranged gems from older collections - including pearls previously worn by Cate to last year's BAFTAs - in a process described as "creative circularity".
Cate told Vogue magazine: "Deadstock is not a sexy word.
"But Nicolas used it to make a strong, sexy dress, and Francesca has brought her artistry to the fore yet again to rearrange and redesign a spectacular piece of body jewellery.
"I’m in awe of them both and relish collaborating with them at Louis Vuitton.”
The 54-year-old actress enjoys finding "creative ways" to be more sustainable with her red carpet wear.
She added: “I love the next, the new, but I also relish the opportunity to rework, reflect, and bring the best of the past into the present.
“There are no single fixes to tackling anthropogenic climate change, but finding creative ways to tackle [the culture of] excess in the fashion industry, and the pressures it places on our climate, is imperative.”
Francesca worked closely with Cate and her stylist Elizabeth Stewart for the unique piece of jewellery and took inspiration from the actress and her work.
She said: “It is not simply Cate’s personal style but her creative output that is so inspiring.
"She has personified so many incredible characters that it inspires me to lean on history and drama, allowing emotion to be expressed through the designs. We share a mutual and very sincere belief in the message of these designs—there is a lot of love behind this project. It is not a ‘collaboration,’ it is a privilege.”
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