Kristen Stewart's First Feature ‘The Chronology of Water' Felt So Good, She Says, She'll Direct Again
Kristen Stewart has been 'wanting to make movies since I was nine or 10 years old,' she told me on her fourth trip to Cannes in 2017, for the short 'Come Swim.' She's been a fixture at the festival ever since her maiden voyage in 2012 with Walter Salles' 'On the Road,' followed by Woody Allen's 'Cafe Society,' Olivier Assayas' 'Clouds of Sils Maria' and 'Personal Shopper,' and David Cronenberg's 'Crimes of the Future.' She also served on Cate Blanchett's Competition jury in 2018.
Stewart's audacious debut, the Un Certain Regard entry 'The Chronology of Water,' was well-received. After eight years of development, Scott Free financed the mood poem about swimming and writing for survival amid personal trauma. Stewart is ebullient after having talked about making her first feature for so long. Back in 2022, she announced that she was adapting (with Andy Mingo) Lidia Yuknavitch's frank 2011 memoir. Stewart resonated with her hardscrabble story about a woman (Imogen Poots) coping with her teenage sexual abuse by her father via sex, anger, competitive swimming, addiction, and creative writing.
More from IndieWire
Darren Aronofsky Partners with Google DeepMind on Generative AI Short Film Initiative
Google Unveils Gen-AI Video Tool with Camera Controls, Consistent Character Design, and Even Sound
Stewart and I talked on a balcony at the Majestic Hotel. The interview has been edited for clarity and brevity.
Anne Thompson: What made you so clear that you should turn this material into your first feature? You went for it.
Kristen Stewart: It's not a movie about the things that actually happened to Lidia. It's about the things that happened to all of us, and then how to take those things into your body. [They] might not be equivalent or exactly like the experience and abuse specifically that she had. Her plight might not be everyone's, but it's similar. There's thievery and violence in the fucking female experience right now, with the imagery that's thrust at us and the conversations that are had outside of our bodies and what they do to our inner voices, when we go: 'I don't think you should do that. Don't say it, keep it a secret. Don't tell anyone you're in pain. Don't tell anyone that that wasn't OK with you. Keep it to yourself. Oh, don't vouch for yourself. Don't fight for that. Oh, don't speak too loud; they won't hear you.' Measure, measure, measure. Shame, shame, shame. And so it was not possible to pull back, because the whole movie is about getting that feeling out. I've never felt like a provocateur. I never was trying to push buttons.
It doesn't feel like that. It feels like you're expressing yourself in every fiber of your being.
It is the truth. There was never a point where I ever questioned it, because there was no way that I was alone in this. The book is such a lifeboat. It's like a flotation device. It's such a good place to start. It's very meta to make a movie about how hard it is to say something that's exactly what I was experiencing.
Over your career, you've taken control of your choices. You've often taken the indie route.
Absolutely. This was not without help. I needed to have a couple of public temper tantrums in order to get the right people to listen. I have this stunning collaborator in Charles Gillibert, who [produced] 'On the Road,' 'Personal Shopper,' and 'Clouds of Sils Maria.' He understands that [women] need help and we need a fucking leg up. It took a long time to get this made. Yeah. It took forever.
What hurdles did you face?
The book is not about the things that happened to her, but about how she processes those things, and about how art can save you. And there was no way to sell the movie as an idea. It was impossible to say to people that I wanted to make a DMT trip experience, a life flashing before your eyes, in the way that your memory feels neurological and physical to you. It's different from the book. It's a faithful adaptation, but it is not the same experience. There was no way for me to tell people that I needed to go make so many puzzle pieces that I could come home and find authentic, emotional connective tissue, because you cannot plan for things like this. You can't plan for the ephemeral. You have to go catch it. You have to go create an environment in which things can sprawl and people can explore and learn things. And so therefore, the movie had to have a life in order for it to have its own memory. It couldn't be exacting, controlled. My hands and my fingerprints are all over it, but I'm not strangling the movie, because the movie had such volition, it had such its own life, that it was telling me what it wanted every day.
Was the movie finished when you brought it to Cannes? Would you go back to the editing room?
The picture is pretty final, it's color-corrected. I'm not going to cut it, OK? It deserves space. It's not like the normal success story that has a three-act structure in the terms that we're used to. Audience are trained, everybody is, because you could not be, to have a certain capacity and a certain expectation for a rhythm and a time code: 'I'm supposed to get this now. I want it. Where is it?' Quite often in the movie, there's so many false wins and starts and hard crashes. And there's an undulation that resembles a female orgasm that steps away from this 1-2-3, punch of the climax and a sigh of relief in the last five minutes, and the movie's over. You think you're there, you think you're there, you're not sure. Then you kill it, then you pull back, and then you're: 'Why am I still here?' And it's frustrating at times, probably. Three-quarters of the way through, you might think to yourself, 'Where are we going?' It is intentional.
Imogen Poots anchors it.
She's the reason why you can get away with all the rest of it, because you never want to stop hanging out with her. Unless we had somebody who really kept you on a line, we were dead in the water.
How did you know she was the right one?
She's a walking motif. Look at her eyes. Visually, I was taken aback when her face filled my Zoom screen in which we did a pseudo audition, aah, I started getting this feeling: 'Oh, my God, the movie might exist.' Because without Lidia — her body is our movie.
You do not shy away from all the orifices and aspects of a woman's body, and you show a lot of blood.
The second shot of the film is intentional. Fifty percent of the population is not going to wonder where that blood came from. It didn't come from a wound. It's textured and chunky, and it's being sucked down a drain. She also comes into her hand so hard that it's dripping from her fingers, and she smells it before getting her mind blown by the sheer capability of her own body. And then the hymen breaking, all of the times that she was aching and itching and bleeding. How often have you ached or itched or bled in public and just been: 'No, you never, that's an alone experience, no matter what.' It's isolating. I hate walking around not telling people what's going on with me.
It happens to everyone. Women will respond to this. It's all about the physical.
Yes — the movie takes place on the surface of this woman's skin. We would arrange rocks on the sand in the same configuration as my favorite pattern of moles on her stomach, just to make sure that we related her to organic material, to imply that she grew here. She did not choose the things that happened to her. We are gouged out. Our desires are given to us. We experience things that we don't choose, and then they define us for the rest of our lives. [It's] a book about revering words, and the life-saving significance and importance of words. I also wanted to stay outside of any word, inside the unnamed wet, because we don't have to take credit for all the shit that comes out of us, but we can turn it into something that is pleasure and pain at once and have that be something that you can decide whether or not it hurts or it feels good.
It must have felt good for you. You're a director now.
Oh man, it felt so good. I'm dying.
You're going to do it again.
I can't wait.
Have you got things in the hopper? Now they'll give it to you easily.
Yeah, several. It's going to be a lot easier this time. I've always said that as long as I can make another movie after my first one, that I don't need to be precious or clever about it at all. It just needs to feel pure. I've earned the right to try one more time. I never want to make the same movie twice. So whatever comes out next is going to not be anything like this. I can't fucking wait.
Jim Belushi is brilliant as Lidia's writing mentor, Ken Kesey.
He brought pages to our pages. He's a movie star: He did so much research. He was the person that we needed to come pat us on the back and remind us that it's okay to want approval from a male figurehead, it's not weird, and it's not anti-feminist. You're not a bad feminist if you want someone like Jim Belushi to pat you on the back and tell you that you're a good girl.Why did you shoot in 16 millimeter?
Because I didn't want to record this. I wanted to take pictures so I could slice them up, and I wanted it to feel like a dream, and I needed it to flash before your eyes. And there's just too much information in a digital image. You can't put yourself into it, and it also doesn't speak to time in the way that the movie needs to. The movie needs to fracture. You can't fracture a recorded image. There's no break. You get all the information. [The movie] is a completely and utterly inundating experience. But for us, we only have 24 pictures every second, and sometimes less because we've pulled them out. And so we really fuck with the experience of literal time, and we put it back into the body, and we can span four decades fluidly, because we shot on film. And also, it does something to people on set. You realize your camera has a heartbeat, you can hear it when the camera starts running — whir — everyone stands at attention. It infuses an immediacy and a sort of honor.
'The Chronology of Water' premiered at the 2025 Cannes Film Festival. It is currently seeking U.S. distribution.
Best of IndieWire
Quentin Tarantino's Favorite Movies: 65 Films the Director Wants You to See
The 19 Best Thrillers Streaming on Netflix in May, from 'Fair Play' to 'Emily the Criminal'
Martin Scorsese's Favorite Movies: 86 Films the Director Wants You to See
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
33 minutes ago
- Yahoo
CEO TALKS: Kering's Francesca Bellettini
Earlier this year, Kering quietly changed its corporate tag line from 'Empowering Imagination' to 'Creativity Is Our Legacy.' The new slogan revs up Francesca Bellettini, Kering's deputy chief executive officer in charge of development, for it crystallizes her passion for working with top designers, ignited when she had the chance early in her career to interface with Helmut Lang. More from WWD Brandy and Monica Take on Burgundy Trend With Coordinated Shoes to Promote 'The Boy Is Mine' tour on 'Jimmy Fallon' Jewelry Brand DoDo Has Named a CEO The RealReal's 'Clueless' Edit Celebrates '90s Shoe Style: From Cher's Versace Bow Mules to Dionne's Prada Boots and More 'I really saw how a collection is done out of nowhere, from a white piece of paper, from sensitivity, and that for me was magical,' she related. Fast forward to today, and Kering has put creativity at the center of its strategy. An investment banker who segued into business development, and later communications and merchandising for fashion houses including Prada, Gucci and Bottega Veneta, Bellettini seems to thrive on challenges, even relishing the opportunities that can be seized during downturns and crises — including the one currently weighing on the luxury sector, and on Kering in particular. Indicative of her ease with change, Bellettini honored an interview appointment with WWD fixed a few weeks before the surprise announcement that Renault Group's CEO will become Kering's new CEO on Sept. 15, succeeding François-Henri Pinault, who remains chairman. 'I know that Luca de Meo has an incredible track record and history, so it will bring only good to the group,' she said, flashing a big smile. It was WWD's intention to unpack the many decisions she spearheaded over the past year, in concert with Pinault, that leaves three Kering houses with new creative directors — Gucci, Balenciaga and Bottega Veneta — and four with new CEOs, at Gucci, Balenciaga, Brioni and Saint Laurent, where she relinquished the CEO title to manage the workload overseeing a stable of brands that also includes McQueen, Pomellato and Queelin. In a wide-ranging conversation, Bellettini discussed her management style, mentorship, succession planning and the power of saying 'yes.' WWD: About the new corporate tag line: Why is creativity so central to the group's legacy, and how does this tag line guide and inspire you? Francesca Bellettini: For the past 10 years, the group really focused on luxury, and so we wanted to define ourselves in an even better and unique way vis-a-vis others that may have another idea of how to make the business. It's very important, the combination of the two words…because legacy is something that evolves. Legacy starts from your heritage, starts from your history, but what fuels the legacy is creativity. The creativity of today builds a legacy of tomorrow. WWD: Some people perceive Kering as more of a 'fashion' player than a typical 'luxury' player, implying that it relies more on trends and heat than brand heritage and DNA, savoir-faire, etc. Do you agree with that? F.B.: That's a misconception in my view. We create trends through creativity, we don't follow trends. Creativity doesn't mean that you don't consider the heritage of the brand. We have many brands that have been created very long ago. Think of Gucci, think of Ginori 1735, think of Balenciaga. They all have a heritage, but again, they were all founded on creativity. Through creativity, we keep our heritage alive. I'm in love with creativity as a manager, and so being in the fashion industry is a plus, because it gives you the opportunity to work with creative people and to create a business out of incredible creative ideas. WWD: What sparked your passion for working with designers? F.B.: Early in my career, when I was in Prada, I started to work with Helmut Lang, where I was operations manager. The company was small, so I had a super direct relationship with Helmut. And I learned so much. Then I saw that in this industry, there is a role also for businesspeople, because that creativity needs to become a business. WWD: You have three new creative directors making debuts this fall at three big Kering brands. Can you talk about that? F.B.: Every brand has its own momentum. What is true is that Gucci needed a new injection of creativity, and we planned to bring that at a certain moment. In the last two years before the change of creative director, we worked on the brand to prepare the territory for a new, strong injection of creativity. Demna was, for me, an obvious choice. It's very clear to me what Demna can bring to Gucci, a brand that benefits from a tension between heritage and newness. Demna is going to build on the heritage of the brand, build on the iconicity of the brand, but inject his strong creativity, his point of view, to recreate desirability. Demna had to accept the job. It was not an imposition to take the job at Gucci, but of course it necessitated a search at Balenciaga. This brand probably needed to build on what Demna has been doing in the last 10 years and this is why the search for the new creative director of Balenciaga was very narrowly focused. When meeting with Pierpaolo [Piccioli], his project for Balenciaga was amazing, exactly for that, because he presented a project that was a build-on. The 10 years of Demna at Balenciaga have been incredible. They have opened doors for the brand that no one else could have opened. I don't need to describe Pierpaolo's capability on couture volumes, it is well known. But the striking point was his ability to connect and build on what had been done. In the case of Bottega Veneta and Louise Trotter, it's a different story, because Matthieu [Blazy] decided to take another opportunity. It opened up the opportunity for us to search for a person that could accelerate certain ideas that we had for the brand. So we were searching for a creative director that had the same sensitivity as the brand. The choice of Louise was done quite quickly and was quite obvious to myself, Leo [Rongone, Bottega's CEO] and François-Henri, because of this connection. We have been very fast and very precise in those recruitments and didn't lose any time. We are quite prepared. We know the talents that we have internally. We have mapped the talent outside. The choice of the right creative person for a certain moment in a brand is the most important one. WWD: Kering has had a reputation for recruiting hidden or number-two designers if you look back at the hiring of Daniel Lee for Bottega, Alessandro Michele and Sabato de Sarno at Gucci and Blazy for Bottega. Your three new creative directors are quite well known. Does this represent a change in strategy? F.B.: No, it's not a change in the strategy. You simply need to get the right person. It's not that I decide, 'Oh, here, I want the famous person. Here, I want a number two.'…It has to be a perfect match. In particular, their sensitivity needs to be correct for the brand. I don't believe that every creative director can be good for every brand. There has to be the sparkle in the eyes when they talk about it. WWD: Exactly how much creative freedom are your creative directors given? F.B.: I prefer the words trust and respect. Freedom implies that you can give it and to take it away. For me, it's more about saying to the designer, 'I trust you in your role.' If he or she stays within the framework of the brand, I love to empower creativity. I love to see ideas that I would never think of. In this sense, it's the freedom of the CEO to be able to say yes to creative ideas. It would be easy to say no all the time — no because there's no budget, no because it's too risky. You have that power when you are the boss.…Whenever I say no, it always comes with the reason why. But a yes to a creative idea can bring you to the magic. And when you have incredible creative people working with you, that's what you want to do. So if that means a freedom, it's freedom. But for me, it's more trust and being aligned with what the brand has to do, what the brands represent. And of course, if you see suddenly a creative person going outside whatever is the framework of the brand, the positioning of the brand and what has been decided together, of course we intervene, but it's a dual work. It's a mutual respect and a mutual trust. At the end of the day, we are all working for the brand, and that's the conversation that happens constantly. WWD: You obviously said, which catapulted the brand into film production? F.B.: It was [Saint Laurent creative director] Anthony Vaccarello's idea based on his understanding of the brand. When he presented to me this idea and the way in which he articulated it, I fell in love with it. I thought it resonated very much with the brand, because it's a form of collaboration at the end of the day. And a brand today cannot resonate only with product. It was a form of collaborating with other artists, in this case directors, actors and expanding the brand in a territory where we were not before. And if you think about the return that the brand had thanks to that initiative, in terms of awareness, in terms of the people that are going to watch the movie and they see 'Saint Laurent Productions by Anthony Vaccarello,' it's impressive. We were also able to create experiences for our clients — film premieres, talks with the actors, podcasts with the directors. Imagine if I would have said, 'No, because that is too strange, too expensive.' And then we wouldn't have produced 'Emilia Pérez' and won Golden Globes, Césars and Oscars. It's a great example of what is right for a brand moving in a different territory. WWD: Gucci is obviously a key focus for the group, given its scale and important profit contributions, and its worrisome slowdown. Can you give your prognosis? F.B.: We had to work on operations first because the brand had been growing so quickly and it achieved a level of sales that was incredible. When you grow so fast, the structure needs to adapt, but then you don't have the time to plan it perfectly. We decided to reassess all of this and to take the opportunity to intervene on certain processes and operations, to fix them, from the organizational structure to the level of new products you put in stores versus carryovers. As Gucci was growing, it was also becoming more retailized. Now almost 95 percent of sales are via directly operated stores, so basically, it's a retail company. We reviewed the structure of the retail function within the company, the structure of the merchandising, and also worked on the quality of the products. I must praise Sabato, who was really, really fond of products, and helped the company a lot in improving the quality. Gucci today is, for sure, in better shape and in a better situation to be ready for the injection of the creativity that will come from Demna. But again, it's teamwork. One could not exist without the other one. It's not Demna alone that is going to change the trajectory of Gucci, it's the team with Demna. WWD: You once told me that you don't mind operating in a downtown, insofar as you can better detect the impact of your decisions and strategies than in boom times, when all boats rise. How are you tackling the current morose and volatile climate for fashion and luxury? F.B.: In a moment of crisis, it's always an opportunity to relook at yourself. You need to be very pragmatic and stay focused on the things that you can control. The worst would be to be defensive and to say, 'I don't change, because I've always been doing things in a certain way.' Everything needs to be reassessed with a sense of urgency, without creating panic, because panic is the worst enemy of good business, along with fear….What I love is always having a portfolio of actions that bring results at different times. If you would only do actions that bring short-term results, you risk compromising the positioning of the brand. You need to be very aware of when you can expect the results to come. If you put in place an action plan that you think is going to give the results in a month and the result is not coming, you need to shift gears. If you put in place an action plan knowing that the results are going to come in six months, in a year, you don't have to panic if you don't see the results straightaway. I don't want to waste the opportunity of a crisis to fix certain things. WWD: Since you were named deputy CEO in charge of brand development, Gucci, Saint Laurent, Balenciaga and Brioni have all named new CEOs. Can you elaborate on the rationale for these appointments? F.B.: These CEOs were chosen thinking about where the brands have to go. What is the strategy for the brand, short, medium and long term? And do they have the skills to deliver that? I know all of them — the new CEOs — personally, and worked with them in the past. I love to work on succession planning. I think that is the duty of a manager to study and groom talent. I love to work with people who are great, who have skills that are better than mine, because then you keep learning. It's a very important responsibility of every manager and every CEO to build a team below him or her of great talents for the brand, and also for the group. WWD: A good number of prominent CEOs inside Kering and outside have worked under you. Can you talk a little bit about mentoring, transmission and building tomorrow's fashion leaders? F.B.: To mentor, the first thing that you need to do is listen. Because if you don't listen to the person, and you think that you can use a formula with everybody, it doesn't work. When you are a boss you need to adapt yourself in the way you liaise with people to make yourself understood. In Italian, we have two words to define two different kind of leaders. An authoritarian leader relies a lot on the power. 'I'm the boss. I tell you what to do. We go — bam!' They usually surround themselves by 'yes' people, they don't like very much confrontation. They can bring results, for sure, but they tend to create an environment of fear, where people don't speak up. And in my view, in particularly in a business that has to deal with creativity, if you create fear, you're done. The other kind of leader still decides, still knows that he or she is the boss, but stimulates a dialogue, listens and try to create a team and is very aware that a collective intelligence is much better. You see it also in sports. When you build a team where everybody is a super champion, most of the time, you win nothing because they are on the field thinking only about themselves and what they can do. When you build a team of great players and you have a great coach that finds a way to make them play together, that's when they win everything, and that's the one that I prefer. Three people that were working for me got promoted while I was CEO of Saint Laurent: Emmanuel Gintzburger to Alexander McQueen, Cédric Charbit to Balenciaga, and Leo Rongone to Bottega Veneta.…I always said to the team, 'When you see your colleague being promoted to CEO, it's because this person is a great talent, but also because we are strong enough as a team to go without that great talent.' You need to search for people that can work very well together. And I tend to focus more on the strengths of people rather than on the weaknesses. It doesn't mean that everybody can arrive to the top, but we don't need only top people. We need great people across the organization. When I see my team growing, I'm happy. I don't know if it's because I don't have children. But when I see people that I believed in, and mentored, and they make it, I'm very happy. WWD: Can you also talk about how your formative experiences in investment banking shaped you into the CEO you are today? F.B.: In investment banking, you learn very quickly the importance of the teamwork. You never work alone, and you work a lot, and you know that to succeed and to finish the project, the team has to function, and everybody has to do their job. I also realized how much I love numbers. I was always very good with numbers at school…they speak to me. And when I moved into merchandising, I learned how numbers could help you working also with creative people. The first person who told me I could be a good merchandiser was Mark Lee, when he was CEO at Gucci and I was doing business development for the brand. He said, 'I think you have the characteristics to be a good merchandiser, because a good merchandiser needs to be good with numbers, but at the same time, also have a sensitivity for products, because you have to have the rational part, but also being able to embrace the creativity.' And so he gave me my first job in merchandising at Gucci. All my career has been very helpful to become a CEO, and every experience that I did was very helpful. WWD: How would you describe your leadership style? F.B.: Putting it at the service of the group and not only a brand. My style in working with the CEOs has been this one, staying close to them, having a role also of mentor. You know that the CEO is a very lonely person. In a a company, you need to be quite strong. Of course, you have your team, and the team is close to you, but you also need to protect them. You cannot throw your worries, the tension, the stress of certain situations to your team. When I was CEO of Saint Laurent, there was more distance from François-Henri. When he created my job, it was to create an intermediary in between his role and the brands. He was also preparing a succession, but it was to create an intermediary that could narrow the gap with him being chairman, CEO and also the shareholder of the group.…Each of our brands needs to build a strong relevance. And that's what we have been working on. WWD: There are still relatively few women CEOs in our industry, and you happen to be in a group with many initiatives to advance women's causes and help women in need. How do you use your platform to aid progress? F.B.: I hope that I can serve as an example for all the girls that have the ambition to grow and to have a career, and I love speaking in front of university students. I really hope that by looking at me, they can think, 'If she can do it, I can do it, too.' We are in a group that values diversity, and I value diversity very much, too. Sixty-three percent of our employees are women, 57 percent of our managers are women, and more than 45 percent of our executive committee members are women, so a lot of progress has been made. You need to be given equal opportunities, and that's the culture of Kering. WWD: You have a reputation for being a very hands-on CEO, and you initially held onto the leadership of Saint Laurent when you became deputy CEO of Kering. Is it hard to let go, or are you easily finding your rewards in different ways? F.B.: It has been a process. I cried when I abandoned the role of CEO of Saint Laurent, but I wanted to give it up to make sure that I could do well my job as deputy CEO of Kering. I could not continue to do both, especially because I am also responsible for development of the jewelry brand since January. (Note: Since the interview took place, Kering also appointed a new CEO for the DoDo brand.) Also, we were ready with the succession planning. Cédric is the perfect person to take Saint Laurent to the next level. Of course, Saint Laurent is my baby. I've been there 10 years, so of course I was very emotional the day I had to leave that role. But I also learned how you can contribute from a distance. A critical part of my job today is not to substitute the CEO. I am the deputy CEO of the group in charge of brand development, so I help them developing the brand, but I would never decide in their place. Of course, if I think they are making a mistake, I intervene and I say it. There is a very open and regular dialogue, but it's very important that I respect the role, because I need the best professionals in those positions, and I need CEOs with full power. WWD: How far do you sketch out the roadmaps for the houses under your purview? F.B.: You need to have a long-term vision. The DNA of the brand is forever, like the DNA of a person. We all evolve as people, we all adapt, we all change, but we don't change who we are. I always give this example when I must define a brand. A brand for me is like a person. It has its own characteristics, values, certain icons, certain elements. And then it evolves with the times. A brand has to consider opportunities, business evolution, new markets, new ways of consumption, but the creativity always must respect the fundamental values and the brand territory. For example, now we talk about brand experiences, something never mentioned even 30 years ago. We were talking about mostly products, and in multibrand retailers. Now we are talking about products in your own stores and experiences to make sure the client is engaged. WWD: Is there still room for taking risks in the luxury landscape of today? F.B.: There are opportunities for the luxury industry to take risks, to embrace creativity even more — it's very important. Whether it's a well-known designer or a newcomer — it doesn't matter. This industry needs a stronger creative point of view. We need to sell the dream. You need to inspire, because we don't make things that people need. We do things that people want. It's very different. And the ability to create desirability is the difference in our industry. WWD: Finally, you've worked side by side with François-Henri Pinault for many years. How do you feel about the changing of the guard? F.B.: In our industry, we have to be open to changes and open to questioning ourselves. I happen to know Luca de Meo a little bit. We got to know each other because we were both interviewed for a book that has been published about Italians in Paris. We have some friends in common. For me, he's a super manager. It's incredible what he has been doing, not only at Renault, but also before. Luca de Meo is a superstar in Italy, and we all know how strong he is, so I am eager to see what he's going to bring. I'm very open to changes. From changes, we can all learn and be excited. So I'm excited for this new chapter. I've been in this group for more than 20 years. I've seen many changes happening. Every change brought something good. François-Henri stays as a chairman. So that's also important, because I think one of our values is also to be a family-led group, and this is still a family-led group, because François-Henri is our chairman, and the Pinault family is our major shareholder. But it's great to have a leader like Luca de Meo joining us with his track record. Best of WWD Bottega Veneta Through the Years Chanel's Ambassadors Over The Years Ranking Fashion's Longest-serving Creative Directors Error in retrieving data Sign in to access your portfolio Error in retrieving data Error in retrieving data Error in retrieving data Error in retrieving data
Yahoo
an hour ago
- Yahoo
Jilted Bride Says She's ‘Gobsmacked' After Her Bridesmaid Made a Big Decision on What Would've Been Her Wedding Day
A woman canceled her wedding in Italy after discovering that her fiancé had been cheating with "numerous women" In a Mumsnet post on June 23, she revealed that some of the wedding party went ahead with going to the European country for the weekend She was left "gobsmacked" when one of her bridesmaids got engaged during the trip on the day that would've been her weddingA jilted bride is accusing one of her bridesmaids of being 'insensitive' for announcing their engagement. On Monday, June 23, the woman penned a Mumsnet post explaining that she found out four months ago her fiancé was cheating with 'numerous women,' and so their wedding that was set to take place in Italy was canceled. She said some of the bridal party decided to go ahead with going to the European country for the weekend, as they had already paid a 'big expense' for their flights and accommodation. 'My best friend (and bridesmaid) was one of these guests and she contacted me via FaceTime yesterday to tell me her boyfriend proposed on Saturday (which should have been my wedding day) on the beach in Italy 🙈,' the woman wrote. 'I was absolutely gobsmacked and replied, saying I was pleased for her, but I needed time to process the news and ended the call,' she continued. 'I am happy for her, but I do feel it's totally insensitive, and I'm in total shock.' Struggling to accept her friend's happiness, the jilted bride asked, 'How do I move past this?' Never miss a story — sign up for to stay up-to-date on the best of what PEOPLE has to offer, from celebrity news to compelling human interest stories. The post garnered hundreds of responses with the majority of commenters arguing that her critique of her friend was unreasonable. Several people advised her to focus on how 'lucky' she was to have found out that her partner wasn't loyal before tying the knot and told her to put her hurt aside to celebrate her friend. 'It wasn't your wedding day,' one person wrote. 'Her life doesn't stop because you didn't get married. Her boyfriend proposed and she said yes, timing wasn't her choice. Sorry your ex was a d--------, but life goes on.' 'Was she supposed to turn him down because of the date? Or just not tell you?' another chimed in. 'I can understand why you'd be a bit sad about it, but she's not really done anything wrong.' is now available in the Apple App Store! Download it now for the most binge-worthy celeb content, exclusive video clips, astrology updates and more! A third said, 'I can only imagine what a tough day it was for you, sending you a hug. I think you're justified in feeling hurt. But your bridesmaid didn't ask to be proposed to, and I'm sure you'd have been thrilled for her had it been a different place and time. She has been insensitive in breaking the news to you in the way she has." "I'm sure in her shoes I'd have said 'I'd love to marry you, and my answer is 'yes' but I think we should get officially engaged somewhere else because after all, this should have been best friend's wedding day/location and I don't want to rub her nose in it,' ' the same person continued. 'I wouldn't fall out with her, but I would share your feelings with her sensitively.' Read the original article on People
Yahoo
an hour ago
- Yahoo
Orlando Bloom And Kim Kardashian's Steamy Reunion Steals Spotlight During Jeff Bezos's Wedding Festivities
Orlando Bloom and Kim Kardashian have raised eyebrows with a warm and steamy reunion at Jeff Bezos and Lauren Sánchez's high-profile Venice wedding festivities. Ahead of the lavish three-day celebration from June 27 to 29, the actor greeted Kim and her family with air kisses and arms-wide hugs, igniting speculation after a candid photo captured their cozy moment. With Bloom's split from Katy Perry still fresh, the cozy exchange with the socialite quickly became the most talked-about moment of the star-studded festivities. On Thursday, Bloom arrived in Venice for Jeff Bezos's wedding and wasted no time exchanging pleasantries with Kim, her sister Khloe Kardashian, and her mom Kris Jenner. Photos obtained by the Daily Mail showed the 48-year-old dressed in a casual black vest that exposed his muscular arms and shorts. On the other hand, Kim looked chic in a tiny Balenciaga bandeau top paired with an oversized hoodie and ribbed maxi skirt. She topped off her look with snakeskin boots and oversized sunglasses. By her side was Khloe, who donned a skin-tight leopard print catsuit. In the snaps, Bloom arrived by boat and greeted her with a friendly kiss on the cheek and a warm hug, later continuing the affection with Khloe and Jenner. The hearty reunion sparked a buzz considering that the 'Lord of the Rings' star was caught checking out Kim's bottom while at an event in September 2024. The viral moment was captured in a photo during the Kering Foundation's Caring for Women Dinner in NYC. The photo showed Bloom standing beside Perry with his hand on her lower back, while checking out Kim's famed posterior, which was accentuated by a stunning Balenciaga gown. Although Bloom and Perry were dating at the time, the latter had no issues with her man's wandering eyes. 'I approve,' she said when she was asked about the viral picture during an appearance on the 'Elvis Duran Show.' Perry also revealed she wasn't new to dealing with 'clickbait' headlines and controversy, so the debacle meant nothing to her. 'Oh just…17 years. 17 years of this,' she stated. Meanwhile, Bloom will reportedly attend Bezos's wedding as a single man. On Wednesday, reports revealed that the Hollywood star and Perry had parted ways after nearly ten years together. 'Katy and Orlando have split but are amicable,' a source told Us Weekly. They revealed that while the pair weren't 'contentious,' Perry was still 'upset' about the breakup. However, the insider shared that the 'Dark Horse' hitmaker was 'relieved to not have to go through another divorce, as that was the worst time in her life.' According to the source, Perry was keeping herself 'busy' and 'distracted' with her tour. They also shared that the songstress will rent her Westcott Estate in Montecito. 'But her and Orlando have always lived in their other Montecito home as their primary residence,' the source continued, adding that the duo were 'planning on making the Westcott home their family home but plans have changed' as they 'have been living apart since Katy has been on tour.' Bloom and Perry's relationship may have just ended, but rumors of relationship issues have been circulating for a while. According to The Sun, things took a turn for the worse when Perry took part in the Blue Origin flight. Although the movie star was present when the rocket took off into space, he reportedly disapproved of the trip. 'From day one, Orlando didn't think going on the Blue Origin mission was a good idea, and knew she would face backlash," a source explained. 'He always thought it was a stupid idea, and she wouldn't get anything positive out of it." They also explained that the actor knew Perry would receive 'backlash.' The revelation surprised many, considering Perry had previously talked about Bloom's involvement in the trip. During a radio interview, she gushed that her ex was 'all about the journey.' True to Orlando Bloom's reported reservations, Perry's trip to space received a ton of backlash. While en route, she held up a daisy, seemingly honoring her and Bloom's daughter Daisy. In addition, upon her return to Earth, Perry stopped to kiss the ground. Unfortunately, her emotional reactions were slammed as 'dramatic' and tone-deaf, given global concerns about climate and inequality. The all-female mission, intended to celebrate women's empowerment, also drew criticism from celebrity voices, including Olivia Munn and Emily Ratajkowski, who labeled it 'gluttonous' and 'disgusting.' Perry later admitted feeling 'battered and bruised' by social media criticism, calling herself a 'human piñata' online while thanking supportive fans and reaffirming her resilience.
