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“I grew up in Valenza in the north of Italy. It is a small municipality of about 20,000 people. Valenza is famous for its jewellery and is full of workshops and ateliers producing pieces for export all over the world.

Growing up, there were not that many high jewellery manufacturers in the world like us. There were some French companies who also made luxury jewellery pieces, but they focused on big production orders. Valenza on the other hand, was a wonderful community of about 2,000 small workshops.

In those years, artisans in Valenza had high expectations and standards because they knew they could create something important. People in the community were not rushed or busy, so we had time to make fantastic creations.

Thanks to Vincenzo Morosetti, a very skilled jewellery artisan, Valenza became one of the best goldsmith schools when it established in 1845. When he opened the jewellery school, everyone all over the world used to flock there.

I studied at this school and gained first-hand experience working for a lot of the local ateliers at the age of 15. It was this nurturing environment that enabled me to develop a sophisticated and intimate knowledge of my craft.

At that time, the main jewellery aesthetic in Valenza was very simple, classic and featured one key stone. You couldn’t experiment with the materials such as moulding gold or creating new shapes. After working for other companies, I eventually became frustrated and quit.

I create Palmiero Jewellery Design in 1979 so I could express the ideas I had. The company was a means to realise many of my ideas which were inspired by nature and art.

Starting the business was difficult at the start. Thirty years ago, my work was considered too avant-garde. But even to this day, some people still consider it to be too forward-thinking.

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It was also difficult because a lot of my ideas require a long product-development process. Palmiero’s products are also very sculptural and colourful, and it can take from several months to a year to create a design. Many pieces also feature gradient tones, and it requires us to have stones in 20 to 25 different shades to create an ombré effect.

We’ve been lucky to have had a number of high-profile royal clients. The first time I encountered royalty was in 1999 in the Middle East when I was attending an exhibition in Bahrain. A sheikh’s mother came to our jewellery booth, as she was attracted by all the different colours we used. The exhibition staff closed our booth so this woman could browse privately. Eventually, she selected so many pieces for purchase that I nearly had a heart attack.

We have created customised pieces for Arabic princes, Russian ladies and even the Sultan of Brunei. We also offer our signature collections to customers, although we do tend to keep production numbers low to make sure they stay special.

I’m incredibly passionate about art. Maybe it has to do with my Italian blood and the fact that Italy has a very strong history in art. It was therefore quite natural that Palmiero create products that pay homage to some of the world’s great artists: Picasso, Mondrian, Van Gogh, Matisse. My favourite artists are Kandinsky, who uses a lot of colours to express emotion, as well as Caravaggio.

Another passion of mine is timepieces, an area I’ve wanted to enter since I started the business. Our first watches arose quite casually, when customers would ask if we had any watches for sale. During those moments, I would make one-off pieces for them.

We’ve evolved a lot since then, and about seven or eight years ago, we officially launched our watch collection. We don’t consider other high-end watch brands as competitors to us, nor do we want to compete against them. Rather, we think even of our watches more as jewellery pieces because the design is so different and unique.

Since 2004, we’ve worked with Masterpiece by King Fook in Hong Kong. My son Luca worked for the company previously. And because I am not as fluent in English, he has been a big help in managing a lot of the overseas accounts we have. This gives me time to stay in our headquarters and concentrate on creating the best products.

It’s nice to see that Luca has taken an interest in the family business. He has seen our company in good and bad times, and he knows howuch love I have for the business. Even as a child, he would go around our headquarters to observe everyone and see how jewellery is made. With his background, studying business and economics along with a masters in luxury marketing, he can now support us and improve Palmiero’s brand awareness.

Of course, as father and son we have different opinions, and I don’t always agree with everything he says. But one thing we agree on and are excited about is renewing our focus on Asia – we are looking to create a few pieces that are tailored and specific to tastes in this part of the world.”

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Best dressed, Julie Bishop’s hat mistake and no Jesinta Campbell

Cup Day is all about colour and this year the gents with their floral shirts, blue suits and bold socks were louder than the ladies. However the fairer sex followed in Derby Day’s footsteps and kept it chic with abstract hair pieces, simple hair and fun frocks.

The Just Jeans model kept the weekend’s Day of the Dead festivities alive in a colour-clashing, print-smashing Stella Jean blouse and midi skirt ensemble. Hart, who could repurpose her Cup day look for a starring role in an Old El Paso commercial, complimented the outfit with oversized pom-pom earrings and matching red felt boater hat.

The former Made in Chelsea star Millie Mackintosh recruited Melbourne stylist Lana Wilkinson and it paid off. Mackintosh, whose ancestors founded Quality Street confectionary, looked sweet yet sexy in a blue Dion Lee negligee with laser cut detail. Her demure looked was jazzed up with novelty sized, Roger Rabbit-esque bunny ears by Viktoria Novak.

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While her bronze bow headpiece by Danica Erard​ was a visual feat, so too was the blogger’s 37-week baby bump encased in a lilac neoprene Dion Lee dress with cheeky side splits.

Despite wearing Coneheads​-inspired head gear by Danica Erard​, the model and Spring Racing ambassador, showcased the hottest summer accessory – bare shoulders in her Licorice Allsorts By Johnny body con dress.

Michelle Payne

Who needs best dressed honours when you’re the first woman to win the Melbourne Cup? Not Michelle Payne. It was just a happy coincidence her lilac, white and emerald silks boasted the most popular colours in The Birdcage. Her pre-race navy shift dress with lace collar was also a winner teamed with a white floral fascinator.

Julie Bishop

The Foreign Minister upped the ante this year with her choice of hat. While in previous years she has worn whatever straw fascinator found rolling around in the boot of her ComCar, her choice of oversized fedora – a la Amal Clooney on her wedding day – was more on brand for her new #fashiondiplomacy schtick. However racing traditionalists may take umbrage with the fabric. Felt is usually reserved for autumn race meets, while Spring Racing Carnival is for crowns, dainty headbands and abstract hair pieces.

Jesinta CampbellThe model and Getaway presenter was noticeably absent from the race that stops the nation. She is a popular, well heeled personality during Spring Racing Carnival, especially at her favourite race days including Derby Day and Oaks Day. Like Sam Frost and Sasha Mielczarek did on Tuesday, Campbell and her fiance Lance ‘Buddy’ Franklin made their first social debut as a couple during race week in 2013.

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Desi designers cater for destination weddings at India Beach Fashion Week

Despite Indian fashion’s potential for beach and resort wear, desi designers have taken to catering to the overwhelming obsession with destination weddings.

The Gionee India Beach Fashion Week that took place in Goa over the weekend was a strong indicator of the same.

The show began with Delhi designer Anupama Dayal, who brought alive her bohemian spirit in a range of salwar kameezes, lehengas, long kurtas and dupattas for easy-breezy wedding wear.

Meanwhile, Day 2 continued with the predisposition for traditional silhouettes and destination brides.

Actor Neha Dhupia walked the ramp for designer Sangeeta Sharma in a red lehenga with golden foliage embroidered on the skirt, teamed with a plain red blouse and matching dupatta draped across her torso.

Keeping her hair tightly pulled back into a bun, the actor sported striking gold statement earrings and looked smart as the showstopper.

The other ‘lady in red’ for the day was Main Aur Charles star Richa Chadda, who walked for designer Mayyur R Girotra’s cocktail couture collection. She wore a deep red lehenga with an embroidered blouse and net dupatta with embroidered roses on the border.

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Also spotted during the shows were TV host Maria Goretti, who wore a smart tie-dye maxi skirt and Amyra Dastur, who wore a baby blue lehenga and crop-top ensemble.

In contrast, deconstructed silhouettes and asymmetrical hemlines were the other extreme of inspiration, as was seen in outfits by Hyderabad-based designer Asmita Marwah.

Inspired by SH Raza’s paintings, the monochrome ensembles were in natural fabrics and featured frayed edges and large bindus or circles.

Actors Anjala Zaveri and Tarun Arora walked as showstoppers in traditional garments, but Bahubali star Rana Daggubati was the highlight of the show, as the imposing star strutted down in black harem pants and acid-green panelled kurta and a dupatta.

One of the smarter lines of the first two days was by label ‘Advitiya by Esha Sethi Thirani’. It had a grey and blue-toned sweeping maxi dress paired with an embroidered cape, and a high-neck concept blouse with cutout panels that was paired with a grey and cream long skirt.

Meanwhile, designer Shweta Puthran presented some summer- smart separates with printed chiffon skirts and kimono jackets paired with swimsuits and crop tops.

The inspiration for the prints was south Indian temples and dances, and made for an interesting collection.

Actress Divya Kumar Khosla walked as the showstopper for designer Babita Malkani in a flared one-shoulder top, paired with wide legged pants. The finale slots for Day 1 and Day 2 were taken by established names.

Designer James Ferreira showcased his skill for construction in a range of printed dresses, tops and skirts in the much-awaited last show of Day 1.

Talking to Mail Today, he said: “The fabric takes a shape of its own because it is based on the Issey Miyake pleat. It was a lot of fun to do this show, as it should be.”

In true spirit, James ended his line with his signature dance on the ramp.

Finally, the last show on Day 2 was certainly a test of commitment to fashion, as it began around midnight. Rocky S continued with his penchant for glimmer in a sporty line of hit-and-miss pieces.

While a sequinned heavy dress and lame sweatshirt with sequins embroidery on the neck were passable, the faux-leather pants and pleated mini-skirts were questionable designs.

VJ Anusha Dandekar walked the runway in a golden sequins shift dress with a smart pair of strappy shoes and beach-wave mane.

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Each year, on the final day of October, bands of children take to the sidewalks of neighborhoods all over the country—skittering from house to house and ringing doorbells—seeking the rush of free candy and the thrill of remaining outside after dark. Similarly, each year at the same time, packs of young adults take to the streets, cluster in apartments and crowd into bars, on the hunt for rushes and thrills of their own.

Dressed as ghouls and goblins, knights and princesses or figures from popular culture, they are ostensibly celebrating a Christian holiday, whose earliest incarnations began more than a thousand years ago as All Saints Day and All Hallows’ Eve—a time for commemorating dead saints and the recently deceased who have yet to find their way into the heavenly kingdom.

However, Halloween is about more than honoring the dearly departed, according to Tanya Luhrmann, a professor of anthropology at Stanford and author of Persuasions of the Witch’s Craft: Ritual Magic in Contemporary England.

First and foremost, Luhrmann says, people dress up because “it’s fun.” But also, she continues, as the heat of this year’s Indian Summer fades and leaves continue to fall in the Valley of the Heart’s Delight, children and young adults will don every costume, from Donald Trump to É well É Sexy Donald Trump, taking advantage of all the cultural transgressions to which the holiday lends sanction.

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“There’s a kind of license that comes with wearing costumes that isn’t available to people in ordinary life,” Luhrmann says, noting that “festivals of license,” of which Halloween is one, are common among cultures all over the world. These festivals “allow people to violate the ordinary cultural constraints of their experience, and that is satisfying for people.”

Of course, not everyone is happy with the idea of “license”—structured or otherwise. “Not all observers think it’s proper,” she says, noting that many chafe at the idea that others would chafe at social conventions.

Some religious folk will object to the idea of dressing children as spectral beings, contending that the practice makes light of very real evil forces. Others have lashed out at the sexification of Halloween, linking it to a patriarchal society that objectifies women. And then there’s the drinking and drug use.

Yet, as the anthropology professor observes, festivals which promote “inversion” practices are nothing new and certainly don’t seem to be going anywhere. “The British upper classes used to love costume parties,” she says by way of example. “I think that was not unconnected with their social awkwardness.”

Then there’s Carnival, the days-long party that precedes the Christian fasting season of Lent in many countries. During Carnival, many societal rules and conventions are inverted, which ultimately “draws attention to the fact that these are social choices.”

Wearing clothing that covers the majority of our bodies, refraining from excessive consumption of alcohol, laws forbidding the use of recreational drugs—these are all social choices, Luhrmann explains. “Culture constrains much of human behavior and experience, giving us rules to follow, and of course people chafe against those. So, these periods of structured license—people really like them.”

Luhrmann says that the glut of highly revealing Halloween costumes are a reflection of the desire people have to break with social norms—if only for an evening.

“The sexiness of Halloween for adults is much more tied to the idea of license that you are allowed to do things with your body and expose parts of your body that you wouldn’t in a ordinary day.”

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Rani Mukerji Pregnant With Aditya Chopra After Wedding, Pamela Chopra Excited For A Grandchild

Rani Mukerji and filmmaker Aditya Chopra finally got married in April 2014 after a lot of speculation about their relationship. The couple tied the knot in a secret ceremony and now it looks like they’re ready to start a family.

New reports that Mukerji is pregnant with her first child are making rounds, and fans aren’t the only ones who are excited. Chopra’s mother, Pamela Chopra, is thrilled that her son and Mukerji are expecting their first child and can’t wait o be a grandmother.

Pamela told DNA that she has been dying to become a grandmother for several years and when she heard about Mukerji’s pregnancy, she was beyond excited. She admitted that whenever she thinks about her grandchild, her “heart skips a beat.” When asked if she was looking forward to spoiling her grandchild, she quickly replied that all grannies are known to do that.

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Aditya previously announced that the birth of his child will be around the same time of his next film, “Befikre.”

“Adi is planning to release his dream film around the birth date of his first child with Rani. Buzz is that Rani is due in late January or early February 2016. So as a sweet gesture Adi plans to release the film on the Friday that falls around the first birthday of their child. This will be Aditya’s special gift for Rani,” said a source according to Filmi Beat.

Mukerji’s sister-in-law, Jyoti Mukerji, “accidentally” confirmed the news of the couple’s pregnancy and Rani is apparently in her second trimester.

“Rani has been away from the media glare for some time now and there are speculations that she is pregnant,” said a source to a leading daily. “She was recently spotted holidaying in London. The actress looked relaxed and was glowing. She was dressed casually and was seen visiting a plush spa for prenatal massage.”

Another source said, “Rani likes to step out for public events only if it is necessary. After ‘Mardaani,’ she did not sign any film, though there were rumors that she was offered to play the role of Haseena Parker, Dawood Ibrahim’s sister, role in a biopic.” Sonakshi Sinha will be doing it now.”

The couple reportedly got married in Italy last year after dating for several years. Yash Raj Films, which was started by his father Yash Chopra, confirmed the news with the 37-year-old actress saying that her wedding with Chopra was the continuation of a “fairy tale.”

“We are happy to announce that Mr. Aditya Chopra and Ms. Rani Mukerji got married on 21 April in Italy,” said Press Trust of India quoted from a statement released by Yash Raj Films. “The wedding was a very small intimate affair with very close family and friends. We wish the couple a very happy married life.”

“I would like to share the happiest day of my life with all my fans all over the world whose love and blessings have been part of my journey all these years,” said Mukerji. “I know that all my well-wishers who have waited for this day will be really happy for me. It was a beautiful wedding in the Italian countryside with just a few of our close family and friends with us.”

“I have always believed in fairy tales and with God’s grade my life has been exactly like one, and now as I enter the most important chapter of my life — the fairy tale continued,” added the actress.

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The next big anti-ager? Kim Kardashian buys the rights to ‘organic botox’

Kim Kardashian has purchased the licensing rights in America for Biotulin, an organic botox gel – in a reported million dollar deal.

The reality TV star, who has admitted to using botox injections in the past, lashed out at claims earlier this year when rumours emerged that she was using injectable botox, an synthetic muscle-freezing toxin, during her second pregnancy. She took to Instagram to say “No, I won’t have any Botox injections during my pregnancy, just like the tabloids are claiming. You would have to be really sick to endanger your child like that.

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“Anyone who has been pregnant or gained weight knows your face totally changes! My nose gets bigger, cheeks fuller and my lips swell up.”

It’s reported that Kardashian is a fan of the organic botox gel. The transparent gel – which is applied topically – claims to smooth wrinkles within an hour. Although the immediate smoothing effects only last up to day, the wrinkle-reducing effects are claimed to be cumulative, smoothing the skin with continued use.

The main ingredient in Biotulin is spilanthol, a local anaesthetic obtained from the extract of the plant acmella oleracea. It reduces muscle contractions and relaxes facial features – and is apparently also used by Michelle Obama, Kate Middleton and Carla Bruni.

The German manufacturers claim that even the tiniest amount of spilanthol is enough to completely relax the muscles beneath the skin treated, and in clinical trials a result similar to Botox was noticed within 60 minutes of application.

For the business-savvy Kardashian, whose fortune is estimated to be worth close to 45 million dollars, purchasing the licensing rights in America for Biotulin could be her next big earner. And if you fancy trying the formula yourself, you can buy the Biotulin Supreme Skin Gel online for £37 – a very reasonable price compared to botox injections, which can cost more than £200 a go.

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Mothers’ Club to host Fashion Show fundraiser

Increase your style cred at Northern Dutchess Hospital Mothers’ Club Fall into Fashion Show at 6:30 p.m. Nov. 10 at the Beekman Arms, 6387 Mill St., Rhinebeck.

In its 12th year, this fun-packed ladies night out features local retailers’ merchandise modeled by the participating store models and Marist College fashion club students. In addition to hors d’oeuvres, dinner buffet, dessert and a cash bar there will be a Chinese auction of themed gift baskets and goodie bags for all who attend.

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This year’s theme of fashion stages in a woman’s life will highlight stylish clothing and accessories for children, women of all ages, and men.

Showing off the trendy colors, prints and embellishments of the season will be participating stores: Waddle n Swaddle, Rhinebeck Department Store, Winter Sun & Summer Moon, Williams Lumber and Willow Wood.

“This is a great night to find wardrobe pieces you genuinely like and will wear, while helping raise money to support the mothers and babies of the mid-Hudson Valley,” said Bonnie Schelechow, fashion show organizer and Mothers’ Club Vice President.

Since 1954, the Mother’s Club has contributed more than $500,000 to the hospital. These funds were used to purchase a water-birth tub, an infant abduction alarm system, birthing beds, sleep chairs and many other necessities. The fashion show will help the club purchase SleepSack Swaddle blankets and Cottonwood Kids insulated breast milk bags for the hospital’s Neugarten Family Birth Center, which celebrated its 30th anniversary in September.

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Collaborations have become a popular strategy for fashion brands in recent years. Some of the most fruitful and surprising have been with the likes of movie franchises, soft drink giants and technology firms. Paul Smith has co-designed bikes, Vivienne Tam has done hotel suites and architect Zaha Hadid has lent her talents to jewellery.

Locally, Kevin Poon of Clot will do rolling collaborations with Nike for the Hong Kong market.

Here are 10 noteworthy collaborations from this year. Five are characterised by strong designs and partnerships, while the other five are notable for their quirkiness:

Esprit Dior in Seoul

Housed in Zaha Hadid’s magnificent Dongdaemun Design Plaza, Dior’s recent exhibition not only documents the history of the fashion label, but invites South Korean artists to reinterpret the brand’s image. This was done through various mediums, including paintings by Kiwon Park and Heryun Kim. The move provided a sophisticated and localised context to the Dior brand.

Uniqlo and Lemaire

Since his spring-summer 2015 collection served as the swansong for his stint as womenswear creative director of Hermès, Christopher Lemaire has wasted no time in finding other interesting projects. Besides concentrating on building his own eponymous label, Lemaire has delivered a capsule collection of basics for Uniqlo that eschews trends in favour of timeless pieces. We can’t think of a better match, especially for the Japanese retailer which champions purity of design compared to fast fashion rivals.

NikeLab and Sacai

Fashion’s love of sportswear is turning out to be a long-term relationship. One such collaboration that oozes coolness is NikeLab and Sacai, marrying innovative new materials with killer cuts and high-performance functionality. One example is the tech fleece, which has been reinterpreted into sweatshirts, tops, dresses and sweatpants. Sacai’s founder, Chitose Abe, reinterprets Nike’s heritage sportswear silhouettes through a feminine and modern lens to create a concise eight-piece collection.

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Opening Ceremony and Intel

You can always expect new and edgy ideas to come from multibrand online boutique Opening Ceremony. Its latest buzzworthy move is a collaboration with Intel in the wearable technology sector. The two companies have created the “Mica” (my intelligent communication accessory) bracelet, a device that delivers discreet text messages, Gmail notifications, Refinery 29 horoscopes and appointment reminders. Style, of course, has not been sacrificed: this gadget is made with snakeskin, pearls, lapis, obsidian and tiger’s eye.

Cos and Mr Porter

Minimalist fashion brand Cos has caused a bit of a stir with its collection, created in partnership with leading online menswear retailer Mr Porter. Designed with the modern traveller in mind, the menswear collection is inspired by nature and architecture. Customers will find graphic shapes and relaxed fabrics in the smart and minimal aesthetic one might expect from both brands. You’ll also find a monochrome palette accented with pops of colour, along with clean lines and silhouettes.

Top five “quirky” collaborations

Irregular Choice and Star Wars

Sci-fi geeks will rejoice with the news that funky British footwear brand Irregular Choice is releasing a collection of shoes in collaboration with Star Wars. The line will feature characters from the film series plastered in a variety of ways, such as on heels, prints and embroidery details. For aspiring Jedi knights, there’s even a pair of flashing lightsabre heels. It’s no wonder that Irregular Choice has celebrity fans with an out-there fashion style, such as Nicki Minaj, Miley Cyrus and Katy Perry.

Diet Coke and J.W. Anderson

Much like his predecessors Karl Lagerfeld and Marc Jacobs, Jonathan Anderson is bringing his creative vision and clout to the omnipresent soft-drink brand. Part of Anderson’s collaboration will include a makeover of the iconic Coke bottle, which will be inspired by the knitwear of his autumn- winter 2015 collection. In addition, he will create the designs for two shirts and a notebook.

Sophia Webster and Barbie

Shoe designer Sophia Webster’s partnership with the iconic doll Barbie has resulted in a series of nine different footwear styles: six for adults and three for children. As one might expect, there is a lot of pink in the capsule line. And though it includes high heels that are often seen on Barbie, Webster has also created sandals, high-tops and slip-ons for those who prefer comfort.

ASOS and Wall’s ice cream

The collaboration between fashion retailer ASOS and Wall’s ice cream came at a perfect time – just when Hong Kong’s brutal summer hit. The 16-piece crazy collection was inspired by the goodies and treats we know and love, which have been shamelessly featured on steamy hot crop tops, mini dresses, luscious clutches and slip-ons.

Minions and Selfridges It was only a matter of time before someone in fashion capitalised on the popularity of those little yellow creatures that first captured our hearts in 2010′s Despicable Me. Selfridges has created a range of Minions-themed products in collaboration with designers such as Giles Deacon, Piers Atkinson and Rupert Sanderson. The collection features the Minions’ beady eyes plastered over everything from shoes to beanies and jumpers.

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FKA twigs looks sexy in a modern take on the famous Versace safety-pin mini dress as she attends fashion party for LFW

She’s known for her eccentric sense of style and singer FKA twigs certainly didn’t disappoint when she attended the Versace fashion party for London Fashion Week on Saturday night.

The 27-year-old, real name Tahliah Debrett Barnett, pulled out all the stops in a very sexy dress by the designer which had a cut out section at the cleavage held together with safety pins.

The number was a homage to the famous dress worn by Elizabeth Hurley in 1994 by the same designer, which garnered headlines to the sexy nature of the design.

FKA teamed the modern take on the high-end fashion item with a pair of sexy heels and added some rock and roll edge with a leather jacket slung over one shoulder.

She wore her hair in pretty ringlets and acceessorized with a pair of drop earrings which added a touch of glamour.

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Once inside the fashion show, FKA was seated alongside Donatella Versace herself as the pair bonded over their love of style.

Donatella, 60, was dressed in a classic floral maxi number as she cosied up to Robert Pattinson’s squeeze.

The show was a star-studded one with Irina Shayk, Lottie Moss, Vanessa White and Paloma Faith all in attendance.

Meanwhile, it’s been reported by People, that FKA’s much talked about wedding to Robert Pattinson is no longer happening.

It has been alleged that the couple, who appeared to confirm their rumoured engagement at the Met Gala in May, ‘have barely spoken’ in recent weeks.

The Twilight star has been shooting The Lost City Of Z for Brad Pitt’s Plan B production company since early August while twigs has been hanging out in Los Angeles.

According to People, the long-distance factor now appears to be putting a strain on the two.

A source told the publication that their ‘wedding is off the agenda,’ although ‘they haven’t called off the engagement.’

‘They’ve definitely drifted and have barely spoken while he’s in Belfast and she’s been in the States,’ the source added.

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When Woody Allen was asked what it was like to direct Cate Blanchett in Blue Jasmine (in itself a measure of her standing – normally actors are asked about working with Allen), he responded: “You just point the camera at her and keep the hell out of the way.”

“That’s so not true,” retorts Blanchett, eyes nonetheless crinkling with pleasure. “I’m very slow when it comes to embodying the character. That’s why I love the theatre. Without sounding too pretentious, saying someone else’s words – and making them sound like your own – is very complex in the neurolinguistic sense.”

This from the woman who’s mastered accents from Dublin to Bronx (South African is the hardest, she says). “Somehow, in the theatre, over six or seven weeks, the language sits in your body and naturally happens. Whereas with film, you don’t always have the time to experiment. That’s why I can honestly say the Si woman is the hardest character I’ve ever had to play.”

Oh, she’s good. In less than 30 seconds, we’ve gone from neurolinguistics to the commercial for Armani Si that’s about to hit the world’s screens, in which she stars, without her coming across as pushy.

She’s also in the middle of a big junket for Carol, the film adaptation of Patricia Highsmith’s 1952 “lesbian” novel, out early next year, which she co-produced and in which she gives another barnstorming performance as an upper-middle-class housewife who sacrifices everything to run off with a younger woman, played by Rooney Mara.

But between discussing mid-20th century and contemporary mores on sexuality, she’s found time to discuss the impact of cassis and chypre top notes, with light incursions of musk – and, furthermore, to sound engaged and interesting.

We met at the Cannes Film Festival, during which, you may recall, the tabloids gleefully outed Blanchett as a bisexual after she allegedly told a reporter from Variety she had had many relationships with women. “What I actually said was something like, ‘I’ve had many relationships with women, but if you mean sexual relationships, the answer is no.’ Somehow the last bit got left out.” She’s less perturbed by the journalist – “we had a great time” – than by what she calls “the toilet-door nature of the internet”.

She still plays the game, though. It helps that her relationship with Giorgio Armani goes back the best part of a decade. They met in 2006, shortly after she’d been nominated for an Oscar for playing Katharine Hepburn in The Aviator. She wore a bronze Armani Prive column gown to the Oscars the following year, and a jewelled, pale gold Armani Prive dress when she collected her Oscar (her second) for Blue Jasmine in 2014 – the result of Woody Allen’s non-interventionist direction. Also of note: Armani’s generous sponsorship helped Blanchett and her husband of 18 years, writer and director, Andrew Upton, run the Sydney Theatre Company, where they were co-artistic directors from 2008 to 2013.

Cassis and musk appear to have been notably absent from Upton and Blanchett’s working environment at STC. “Our office there is open plan – not remotely glamorous. Most of our programme planning happens in the disabled loo. That’s our only private space.”

Loos are becoming a leitmotif in this interview. Later, when her entourage come to sweep her away to the evening’s events, she’ll look beseechingly at them and ask if she has time to pee.

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Upton is in Cannes somewhere. He was also with her a fortnight earlier for Armani’s 40th anniversary celebrations in Milan. That month was definitely his stint as Mr Blanchett. How have they managed to work together and remain married?

“I know – people look at us in horror. We share an office, an email address – which makes it impossible for him to have an affair, even though I try not to monitor him.

Andrew was really the first person I’d met that I could talk to in an uncensored way about everything. He’s incredibly well-read and had this sense that I just do not have – but our eldest son [Dashiell, now 14] has – of reading a script and understanding what’s coming next. Working together with the theatre company was a natural extension of that.”

With Upton’s tenure at STC ending, they’re planning to relocate to America with their three sons and Edith, the tiny daughter they adopted earlier this year. I wonder whether the Australian tabloid press, by all accounts even more rambunctious than the British, has finally driven them away.

“It’s true we’re a smaller population, so we’ve got fewer people to feed on. But we live in a very private suburb. We know we can go to certain restaurants and parties … It sounds banal, but I love cooking. My little one has gut issues, so my latest challenge is to try to cook things the kids will eat without sugar. I’ve gone a bit Heston Blumenthal, going through all the chemical compositions with my son, trying to work out how you make things sweet without sugar.”

She makes it all sound so normal. But it’s hard to know how any actress stays sane. It’s not just the life, it’s the craft. Playing Blanche DuBois on screen allegedly tipped Vivien Leigh over the edge. Blanchett took on Blanche three seasons in a row – in Sydney, Washington and New York. Then came the Blue Jasmine re-rendering of the Tennessee Williams original.

“Woody kept saying ‘this is not Streetcar’, but Blanche was clearly a touchstone for me.” It took its toll. When the producers wanted the stage interpretation of Streetcar to transfer to Broadway she declined. “I didn’t think I could play her for another three months. I’d lost a lot of weight and my hair was falling out.”

With three sons and a daughter, she’s ideally placed to … “screw her up?” she quips. I was going to suggest you’re in pole position to observe gender stereotyping, I say. “People have been talking a lot about that recently,” she muses. “Maybe it’s because of the subject nature of Carol, and a general trend in society. But we won’t be experimenting with our daughter.”

Regarding gender stereotyping, I have to ask Blanchett about clothes, because she’s deployed them so brilliantly throughout her career. “I spent my first pay cheque after drama school on an Armani suit, which I’ve still got – and wear. Clothes are a huge part of the acting process. In a way they’re the most creative aspect, because you don’t always get a lot of rehearsal time, so the costumes can help coalesce all kinds of ideas. Todd [Haynes, the director of Carol] made a point of attending the hair and makeup sessions – all good directors do.”

For someone whose red carpet choices have been as bold and eccentric as her roles, she says decisions are made quickly. Despite claiming that her favourite wardrobe piece is trousers, she can certainly work a ball dress.

“The Giles Deacon I wore in Cannes [15 metres of silk, print inspired by a fax machine] was an easy, instant pick,” she says. “I saw it on a shoot and thought, ‘Where else could you wear that?’ When you decide by committee it kills the spontaneity. I probably get shocking reviews on the red carpet, but I don’t read them.”

All actresses say this, and if I believed any of them, it would be her. “Of course I read the news,” she says. “But if I see anything about me, I just look at the pictures. I’m very superficial.”

She still finds assessing her performances hard. “The first time you watch yourself in any role, it’s excruciating. The more you do it, the more you can treat it objectively and make comments like, ‘Oh, that was a bad choice.’ But it’s never easy.”

Although latterly actresses in their late 40s and 50s (Blanchett is 48), seem to be finding more satisfying roles – see Streep, Kidman, Scott Thomas – the scrutiny on their looks remains intense. When I got back to London after interviewing Blanchett, the question all women asked was: “How’s she looking?”

The complex answer is that she has an idiosyncratic beauty that can look masculine one minute, fragile the next. Even without the wigs and makeup, she could probably morph from Elizabeth I to Bob Dylan and – her next role – Lucille Ball. It all seems to be in her eyes.

The simpler answer is that she looks precisely how you’d want a sane, intelligent woman to look: animated, with crow’s feet when she smiles. She’s wearing another Armani suit – this time white, with grey stilettos.

Blanchett clearly takes care of herself, stays out of the sun, keeps slim rather than bone-thin, uses copious amounts of SKII, the upmarket skincare she advertises, works with the best hair and makeup teams (the makeup artist Mary Greenwell is godmother to Edith, testament perhaps, to how much time actresses spend with their beauty squadrons), but she’s far too smart to neuter the tools that won her two Oscars.

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