Here are highlights from the interview in the newest edition of New Beauty and you can view the cover below!
Briefly going blonde: “My grandmother always said my red hair was my calling card! And I never realized how much I identified with it until I had to dye it blond years ago for a role. It felt so weird, and I couldn’t wait to go back to my regular shade.” (She wore a blonde wig for Hunger Games: Mockingjay.)
No more juice cleanses: “I did a juice cleanse for the Golden Globes one year. I think I did it for three days. To be honest, the only weight I lost was in my brain!”
She likes a quiet workout: “I don’t like noisy workouts. I tried spinning and didn’t like it; it’s just too loud for me. I do better when I am working out in quiet, which is why I like yoga. I also work out at my house, do interval running and lift light weights.”
Getting older isn’t so bad: “I can remember being 12 and everyone was talking about the year 2000 and it seemed so far away. I remember thinking, ‘I will be 40 then,’ and it just seemed so old — I couldn’t even think about it; it was utterly shocking. But when you get there, it’s so much less serious than you anticipated. The changes aren’t as vast and it all happens very gradually. Getting older is not as bad as you think.”
Beauty advice for her daughter, Liv: “For my daughter, we talk about different things as they relate to beauty. I always tell her not to overpluck her eyebrows — I remember overplucking mine in sixth grade, and I guess everyone does! She is allowed to play with makeup, but I also remind her how beautiful she looks without it. I also try to remind her she can dress modestly and still look lovely.”
VS Magazine has done big this time for its SS 2014 issue with 6 covers, one of which is our Julianne. So far I found only that but I’ll be looking for the rest.
Magazine Scans > Scans from 2014 > VS Magazine (SS 2014)
Hello everyone, my name is Claudia and I’m the new co-web to the site. I joined to help Holly with the site and to share with her and you all my deep love for Julianne which goes on, endless and always stronger since a decade. To start I’ve uploaded HQ scans from Empire Magazine which have been kindly donated to us by Luciana. Enjoy them!
Magazine Scans > Scans from 2014 > Empire (October 2014)
I’ve added a few new things to the gallery today: one photoshoot (Madame Figaro), a Mockingjay Part I still and a scan from the Italy copy of Vanity Fair. Thanks to Luciana for the shoot and Claudia for the scan! I’m also happy to announce that images from Julianne’s appearances from the earlier years are now complete! There are still a few albums missing here and there but when I find the images I will add them. I hope you all enjoy the new additions.
• Studio Photoshoots > Session #139
• Magazine Scans > Scans from 2014 > Vanity Fair – Italy (June 2014)
• Film & TV Productions > 2015 – The Hunger Games: Mockingjay > Production Stills
Julianne led the way to the just-finished room, which feels like a glimpse into the future: a fully equipped, heart-of-the-house kitchen designed like a living room, with freestanding furniture-like cabinetry, large-scale contemporary photos hung gallery-style, and a Berber carpet under the table. It’s a room that’s at once formal and informal, welcoming and grand. “Isn’t it risky to have a shaggy wool rug in the kitchen?” we asked. “Actually, it’s incredibly forgiving,” she said. “Everything comes out of wool.”
She may be one of the great actresses of our day, but she moonlights as one of us: a design junkie (case in point: she acted as the shoot stylist, looking into the camera and readying every angle). Just get her on the subject of doormats, and you know she’s fully committed. During idle moments on movie sets, she told us, she strikes out in search of ceramics (“I like local pottery, utilitarian things”), such as the stoneware candelabra on her kitchen table, a find from the Mississippi Mud shoot near Marigold, Mississippi.
Over the years, Julianne has developed her own design rules—inspired in part by the spare yet warm aesthetic of Belgian architect Vincent Van Duysen (“I steal from his stuff all the time”)—which go something like this:
• Control the colors you allow into your life. The palette in the house (and even the backyard garden) is limited to ivory, gray, black, brown, and the occasional touch of purple. When she initially remodeled the townhouse 10 years ago, the first floor was done in shades of gray (shots of it buzzed around the web, inspiring copycat paint jobs the world over). But she started longing for a brighter outlook and went for an off-white: “It felt dark in here. White lets the furniture to pop.”
• Spotlight interesting textures. “Color is just not what I like to look at,” she says. “I like natural things.” Toward that end, a giant sea sponge rests on an Eames pedestal, antique turtle shells decorate the back wall, a brown sheepskin from the Union Square Farmer’s Market drapes over a wooden armchair, and a thrift store driftwood lamp stands like an animated scarecrow next to the sink. Also high on her list: natural materials like plaster, wax, rattan, and rice paper (the latter is what the room’s giant Noguchi lantern light is made of).
• Matte trumps shiny. Oliver knows never to suggest any finish that gleams. The counter is honed black granite. The backsplash is made from concrete squares that closely match the color of the wall. (And it was such a hard sell that Julianne only agreed to add it to the stove area; the kitchen sink is deep enough that it gets away without a backsplash.) And the table, a modern farmhouse design, has a vegetable-based finish that she points out is satisfyingly “super matte.”
• Art should be everywhere. It elevates a room and works its magic over a sink just as much as it does over a formal mantel (yes, the kitchen has one of those, too, a holdover from its days as a parlor). Currently on display: Large-scale photos by Jack Pierson, Ori Gersht, and Nan Goldin.
• Everything should be put to use—or else nixed. Julianne credits this philosophy to her mother: “I was a military brat and we moved a lot, but my mother knew how to pull together a room and liked a Scandinavian aesthetic. She inspired my interest in design.” The use-everything approach extends to the furniture: “Nothing should be so precious that children and dogs aren’t welcome on it.”
Nice way to live, right? For a full exploration of the kitchen, see our new book, Remodelista, A Manual for the Considered Home, with a foreword written by Julianne Moore herself. And you can get copies autographed by Julie Carlson via Book Passage.