Ophelia
John William Waterhouse's painting Ophelia (1894)
Creator	William Shakespeare
Play	Hamlet
Family	Polonius (father) Laertes (brother)

Ophelia is a fictional character in the play Hamlet by William Shakespeare. She is a young noblewoman of Denmark, the daughter of Polonius, sister of Laertes, and potential wife of Prince Hamlet. As one of the few female characters in the play, she is used as a contrasting plot device to Hamlet's mother, Gertrude.

Plot[link]

In Ophelia's first speaking appearance in the play,^[1] she is seen with her brother, Laertes, who is leaving for France. Laertes warns her that Hamlet, the heir to the throne of Denmark, does not have the freedom to marry whomever he wants. Ophelia's father, Polonius, enters while Laertes is leaving, and also forbids Ophelia to pursue Hamlet, whom he fears is not earnest about her.

In Ophelia's next appearance,^[2] she tells Polonius that Hamlet rushed into her room with his clothing askew, and with a "hellish" expression on his face, and only stared at her and nodded three times, without speaking to her. Based on what Ophelia tells him, about Hamlet acting in such a "mad" way, Polonius concludes that he was wrong to forbid Ophelia to see Hamlet, and that Hamlet must be mad because of lovesickness for Ophelia. Polonius immediately decides to go to Claudius (the new King of Denmark, and also Hamlet's uncle and stepfather) about the situation. Polonius later suggests^[3] to Claudius that they hide behind an arras to overhear Hamlet speaking to Ophelia when Hamlet thinks the conversation is private. Since Polonius is now sure that Hamlet is lovesick for Ophelia, he thinks Hamlet will express love for Ophelia. Claudius agrees to try the eavesdropping plan later.

The plan leads to what is commonly called the 'Nunnery Scene'.^[4] Polonius instructs Ophelia to stand in the lobby of the castle while he and Claudius hide. Hamlet enters the room, in a different world from the others, and recites his "To be, or not to be" soliloquy. Hamlet approaches Ophelia and talks to her. He tells her "get thee to a nunnery." Hamlet becomes angry, realizes he has gone too far, and says "I say we will have no more marriages", and exits. Ophelia is left bewildered and heartbroken, sure that Hamlet is insane. After Hamlet storms out, Ophelia makes her "O, what a noble mind is here o'erthrown" soliloquy.

Ophelia by John Everett Millais (1852) is part of the Tate Gallery collection. His painting influenced the image in Kenneth Branagh's Hamlet

The next time Ophelia appears is at the 'Mousetrap Play'^[5] which Hamlet has arranged to try to prove that Claudius killed King Hamlet. Hamlet sits with Ophelia and makes sexually suggestive remarks, also saying that woman's love is brief.

Later that night, after the play, Hamlet kills Polonius ^[6] during a private meeting between Hamlet and his mother, Queen Gertrude. At Ophelia's next appearance,^[7] after her father's death, she has gone mad, due to what the other characters interpret as grief for her father. She talks in riddles and rhymes, sings some "mad" and bawdy songs about death and a maiden losing her virginity. After bidding everyone a "good night", she exits.

The final time Ophelia appears in the play is after Laertes comes to the castle to challenge Claudius over the death of his father, Polonius. Ophelia sings more songs and hands out flowers, citing their symbolic meanings although interpretations of the meanings differ. The only herb that Shakespeare gives Ophelia herself is rue; "... there's rue for you, and here's some for me; we may call it herb of grace o'Sundays; O, you must wear your rue with a difference". Rue is well known for its symbolic meaning of regret, but the herb is also highly poisonous and has powerful abortive properties.^[8]

Ophelia by Alexandre Cabanel

In Act 4 Scene 7, Queen Gertrude, in her monologue (There is a willow grows aslant the brook), reports that Ophelia had climbed into a willow tree, and then a branch broke and dropped Ophelia into the brook, where she drowned. Gertrude says that Ophelia appeared "incapable of her own distress". Gertrude's announcement of Ophelia's death has been praised as one of the most poetic death announcements in literature.^[9]

We later see a sexton at the graveyard insisting Ophelia must have killed herself.^[10] Laertes is outraged by what the cleric says, and replies that Ophelia will be an angel in heaven when the cleric "lie[s] howling" in hell.

At Ophelia's funeral, Queen Gertrude sprinkles flowers on Ophelia's grave ("sweets to the sweet,") and says she wished Ophelia could have been Hamlet's wife. Laertes then jumps into Ophelia's grave excavation, asking for the burial to wait until he has held her in his arms one last time and proclaims how much he loved her. Hamlet, nearby, then challenges Laertes and claims that he loved Ophelia more than "forty thousand" brothers could. After her funeral scene, Ophelia is no longer mentioned.

Portrayal[link]

Mary Catherine Bolton (afterwards Lady Thurlow) (1790-1830) as Ophelia in 1813, opposite John Philip Kemble's Hamlet

While it is known that Richard Burbage played Hamlet in Shakespeare's time, there is no evidence of who played Ophelia; since there were no professional actresses on the public stage in Elizabethan England, we may be certain that she was played by a boy.^[11]

The early modern stage in England had an established set of emblematic conventions for the representation of female madness: dishevelled hair worn down, dressed in white, bedecked with wild flowers, Ophelia's state of mind would have been immediately 'readable' to her first audiences.^[12] "Colour was a major source of stage symbolism", Andrew Gurr explains, so the contrast between Hamlet's "nighted colour" (1.2.68) and "customary suits of solemn black" (1.2.78) and Ophelia's "virginal and vacant white" would have conveyed specific and gendered associations.^[13] Her action of offering wild flowers to the court suggests, Showalter argues, a symbolic deflowering, while even the manner of her 'doubtful death', by drowning, carries associations with the feminine (Laertes refers to his tears on hearing the news as "the woman").

Gender structured, too, the early modern understanding of the distinction between Hamlet's madness and Ophelia's: melancholy was understood as a male disease of the intellect, while Ophelia would have been understood as suffering from erotomania, a malady conceived in biological and emotional terms.^[14] This discourse of female madness influenced Ophelia's representation on stage from the 1660s, when the appearance of actresses in the English theatres first began to introduce "new meanings and subversive tensions" into the role: "the most celebrated of the actresses who played Ophelia were those whom rumor credited with disappointments in love."^[15] Showalter relates a theatrical anecdote that vividly captures this sense of overlap between a performer's identity and the role she plays:

Soprano Mignon Nevada as Ophelia in an operatic adaptation of Hamlet, circa 1910.

"The greatest triumph was reserved for Susan Mountfort, a former actress at Lincoln's Inn Fields who had gone mad after her lover's betrayal. One night in 1720 she escaped from her keeper, rushed to the theater, and just as the Ophelia of the evening was to enter for her mad scene, "sprang forward in her place ... with wild eyes and wavering motion." As a contemporary reported, "she was in truth Ophelia herself, to the amazement of the performers as well as of the audience—nature having made this last effort, her vital powers failed her and she died soon after."^[16]

During the 18th century, the conventions of Augustan drama encouraged far less intense, more sentimentalized and decorous depictions of Ophelia's madness and sexuality. From Mrs Lessingham in 1772 to Mary Bolton, playing opposite John Kemble in 1813, the familiar iconography of the role replaced its passionate embodiment. Sarah Siddons played Ophelia's madness with "stately and classical dignity" in 1785.^[17]

Since that time, Ophelia has been a frequent subject in artwork, often in a Romantic or Classical style, as the images on this page show.

Many great actresses have played Ophelia on stage over the years. In the 19th century she was portrayed by Helen Faucit, Dora Jordan, Frances Abington, and Peg Woffington, who won her first real fame by playing the role.^[18] Theatre manager Tate Wilkinson declared that next to Susannah Maria Cibber, Elizabeth Satchell (of the famous Kemble family) was the best Ophelia he ever saw.^[19]

Ophelia has been portrayed on screen since the days of early silent films. Dorothy Foster played Ophelia opposite Charles Raymond's Hamlet in the 1912 film Hamlet. Jean Simmons played Ophelia opposite Laurence Olivier's Oscar-winning Hamlet performance in 1948; Simmons was also nominated for the Academy Award for Best Supporting Actress. More recently, Ophelia has been portrayed by Helena Bonham Carter (1990), Kate Winslet (1996), Julia Stiles (2000) and Gugu Mbatha-Raw (2009). Themes associated with Ophelia have led to movies such as Ophelia Learns to Swim (2000), and Dying Like Ophelia (2002).^[20]

In many theatre and film adaptations she is portrayed barefoot in the mad scenes, including Kozintsev's 1964 version, Zeffirelli's 1990 film, 1996 and 2000 versions.

Psychologist Mary Pipher attributed the name of her 1994 book Reviving Ophelia to Shakespeare's Ophelia. In her book, Pipher examines the troubled lives of the modern American adolescent girls. Through her extensive clinical work with troubled young women, Pipher takes a closer look at the competing influences that lead adolescent girls in a negative direction. For example, Pipher attributes the competing pressure from parents, peers, and the media for girls to reach an unachievable ideal. Girls are expected to meet goals while still holding on to their sanity. These pressures are further complicated when young women undergo physical changes out of their control, like the biological developmental changes in puberty. Shakespeare's Ophelia was thought to be going through erotomania; however, Ophelia and Pipher's patients display many of the same characteristics. Pipher believes the Ophelia of Shakespeare's era was entirely misunderstood, much like her patients. In order to understand the complex mind of an adolescent, one must look at the woman from a holistic perspective in order to gain a greater understanding of her outlook on life.

Lisa Klein's 2006 novel, Ophelia, uses her as the main protagonist. As opposed to her portrayal in the play, Ophelia uses madness as a cover, much like Hamlet does. Hamlet secretly marries her, though she is unaware of his own ruse of insanity. She eventually fakes her own death to escape the Danish court and preserve her life and that of her unborn baby, leaving to a convent in France. While there, she studies herbal remedies and takes on a task of being a medical worker for the sisters.

See also[link]

	England portal
	Theatre portal
	Fictional characters portal

Wikimedia Commons has media related to: Ophelia

• References to Ophelia
• Henrietta Rae

Footnotes[link]

References[link]

• Banham, Martin, ed. 1998. The Cambridge Guide to Theatre. Cambridge: Cambridge University Press. ISBN 0-521-43437-8.
• Charney, Maurice. 2000. Shakespeare on Love & Lust. New York: Columbia University Press. ISBN 0-231-10429-4.
• Gurr, Andrew. 1992. The Shakespearean Stage 1574-1642. Third ed. Cambridge: Cambridge University Press. ISBN 0-521-42240-X.
• Hattaway, Michael. 1982. Elizabethan Popular Theatre: Plays in Performance. Theatre Production ser. London and Boston: Routledge and Kegan Paul. ISBN 0-7100-9052-8.
• Thomson, Peter. 1983. Shakespeare's Theatre. Theatre Production ser. London and Boston: Routledge and Kegan Paul. ISBN 0-7100-9480-9.
• Wells, Stanley, and Sarah Stanton, eds. 2002. The Cambridge Companion to Shakespeare on Stage. Cambridge Companions to Literature ser. Cambridge: Cambridge University Press. ISBN 0-521-79711-X.

External links[link]

• 'Shakespeare's Ophelia?', Rob Sharp, The Independent, 8 June 2011
• 'Five Truths', directed by Katie Mitchell created for the Victoria and Albert Museum, 12 July 2011

v t e William Shakespeare's Hamlet Characters Hamlet Claudius Gertrude Ghost Polonius Laertes Ophelia Horatio Rosencrantz and Guildenstern Fortinbras The Gravediggers Yorick Soliloquies "To be, or not to be" "What a piece of work is a man" "Speak the speech" Sources & criticism Legend of Hamlet The Spanish Tragedy Ur-Hamlet Critical approaches Bibliographies Influence Common phrases from Hamlet References to Hamlet References to Ophelia Performances Moscow Art Theatre (1911–1912) Richard Burton's (1964) On screen 1900 film 1908 film 1921 film 1948 film 1964 film 1969 film 1990 film 1996 film 2000 film 2009 television film Adaptations Hamlet (opera) Rosencrantz and Guildenstern Are Dead Rockabye Hamlet Hamletmachine The Lion King Let the Devil Wear Black Hamlet 2 The Banquet The Bad Sleep Well Sons of Anarchy

Helena Bonham Carter CBE
Helena Bonham Carter at the 83rd Annual Academy Awards 2011
Born	(1966-05-26) 26 May 1966 (age 46) Golders Green, London, England, United Kingdom
Occupation	Actress
Years active	1983–present
Partner	Tim Burton (2001–present)
Children	2
Parents	Raymond Bonham Carter (deceased) Elena (née Propper de Callejón)

Helena Bonham Carter, CBE (born 26 May 1966) is an English actress. She made her acting debut in a television adaptation of K. M. Peyton's A Pattern of Roses before winning her first film role as the titular character in Lady Jane. She is known for her roles in films such as A Room with a View, Fight Club, and playing the villainess Bellatrix Lestrange in the Harry Potter series, as well as for frequently collaborating with director and domestic partner Tim Burton in films such as Planet of the Apes, Big Fish, Corpse Bride, Charlie and the Chocolate Factory, Sweeney Todd: The Demon Barber of Fleet Street, Alice in Wonderland, and Dark Shadows.

A two-time Academy Award nominee for her performances in The Wings of the Dove and The King's Speech, Bonham Carter's acting has been further recognised with six Golden Globe nominations, an International Emmy Award, a BAFTA Award, and a Screen Actors Guild Award. She was appointed Commander of the Order of the British Empire (CBE) in the 2012 New Year Honours for services to drama,^[1][2] and received the award from the Queen at Buckingham Palace on 22 February 2012.^[3]

Early life and family background[link]

Bonham Carter was born in Golders Green, London. Her mother, Elena (née Propper de Callejón), is a psychotherapist.^[4] Her father, Raymond Bonham Carter, was a merchant banker, and served as the alternative British director representing the Bank of England at the International Monetary Fund in Washington, D.C. during the 1960s.^[4][5][6] He came from a prominent British political family, being the son of British Liberal politician Sir Maurice Bonham Carter and renowned politician and orator Violet Bonham Carter. Helena's paternal great-grandfather was Herbert Henry Asquith, 1st Earl of Oxford and Asquith, Prime Minister of Britain from 1908–1916. She is the grand-niece of Asquith's son, Anthony Asquith, legendary English director of such classics as Carrington V.C. and The Importance of Being Earnest. Helena's maternal grandfather, Spanish diplomat Eduardo Propper de Callejón, saved thousands of Jews from the Holocaust during World War II, for which he was recognised as Righteous among the Nations (his own father had been Jewish).^[7] He later served as Minister-Counselor at the Spanish Embassy in Washington, D.C.^[8]

Helena's maternal grandmother, Hélène Fould-Springer, was from an upper class Jewish family; she was the daughter of Baron Eugène Fould-Springer (a French banker, who was descended from the Ephrussi family and the Fould dynasty) and Marie Cecile von Springer (whose father was Austrian-born industrialist Baron Gustav von Springer, and whose mother was from the de Koenigswarter family).^[4][9][10] Hélène Fould-Springer converted to Catholicism after World War II.^[11][12] Hélène's sister was the French philanthropist Liliane de Rothschild (1916–2003), the wife of Baron Élie de Rothschild, of the prominent Rothschild family (who had also married within the von Springer family in the 19th century);^[13] her other sister, Therese Fould-Springer, was the mother of British writer David Pryce-Jones.^[9]

Bonham Carter has two brothers, Edward and Thomas, and is a distant cousin of fellow actor Crispin Bonham-Carter, who played Mr. Bingley in the 1995 BBC production of Pride and Prejudice, and politician Jane Bonham Carter. Bonham Carter is also distantly related (through marriage) to Ian Fleming, author of the James Bond novels, and pioneering English nurse Florence Nightingale.^[14] Other prominent distant relatives include Lothian Bonham Carter, who played first-class cricket for Hampshire, and his son, Vice Admiral Stuart Bonham Carter, who served in the Royal Navy in both of the 20th century's world wars.

She was educated at South Hampstead High School, an independent girls' school in Hampstead, London, and later at Westminster School, a co-educational independent school near the Palace of Westminster. Bonham Carter was denied admission to King's College, Cambridge, not because of her grades and her test scores but because school officials were afraid that she would leave mid-term to pursue her acting career.^[15]

When Bonham Carter was five, her mother had a serious nervous breakdown, from which it took her three years to recover. Upon her recovery, her experience in therapy led her to become a psychotherapist herself – Bonham Carter now pays her to read her scripts and deliver her opinion of the characters' psychological motivations.^[16] Five years after her mother's recovery, her father was diagnosed with acoustic neuroma. He suffered complications during an operation to remove the tumour which led to a stroke that left him half-paralysed and using a wheelchair.^[17] With her two older brothers at college, Bonham Carter was left to help her mother cope. She would later study her father's movements and mannerisms for her role in The Theory of Flight,^[18] before his death in January 2004.

Career[link]

Bonham Carter and Colin Firth in the 2010 film The King's Speech

Bonham Carter has not received any formal training in acting.^[19] In 1979, she won a national writing contest and used the money to pay for her entry into the actors directory Spotlight. She made her professional acting début at the age of 16 in a television commercial. She also had a part in a minor TV film A Pattern of Roses.

Her first starring film role was as Lady Jane Grey in Lady Jane (1986), which was given mixed reviews by critics. Her breakthrough role was Lucy Honeychurch in A Room with a View, which was filmed after Lady Jane, but released beforehand. Bonham Carter also appeared in episodes of Miami Vice as Don Johnson's love interest during the 1986–87 season and then, in 1987 opposite Dirk Bogarde in The Vision and Stewart Granger in A Hazard of Hearts. Bonham Carter was originally cast in the role of Bess McNeill in Breaking the Waves, but backed out during production due to, "...the character's painful psychic and physical exposure," according to Roger Ebert.^[20] The role went to Emily Watson, who was nominated for an Academy Award for the role.^[21] In 1994, Bonham Carter appeared in a dream sequence during the second season of the British comedy series Absolutely Fabulous, playing Edina Monsoon's daughter Saffron. Throughout the series, references to physical similarities between Bonham Carter and the character of Saffron had been made.

These early films led to her to being typecast as a "corset queen," and "English rose," playing pre- and early 20th century characters, particularly in Merchant-Ivory films. She played Olivia in Trevor Nunn's film version of Twelfth Night in 1996. One of the high points of her early career was her performance as the scheming Kate Croy in the 1997 film adaption of Wings of the Dove which was highly acclaimed internationally and it netted her first Golden Globe and Academy Award nominations. She has since expanded her range,^[19] with her more recent films being Fight Club, Wallace & Gromit: The Curse of the Were-Rabbit, and Tim Burton's Charlie and the Chocolate Factory, Corpse Bride, Big Fish, Sweeney Todd: The Demon Barber of Fleet Street, and Alice in Wonderland.

Helena Bonham Carter at 26th Santa Barbara International Film Festival in 2011.

Bonham Carter speaks French fluently, starring in a 1996 French film Portraits chinois. In August 2001, she was featured in Maxim. She played her second Queen of England when she was cast as Anne Boleyn in the ITV1 mini-series Henry VIII; however her role was restricted, as she was pregnant with her first child at the time of filming.^[22] Bonham Carter was a member of the 2006 Cannes Film Festival jury that unanimously selected The Wind That Shakes the Barley as best film.^[23]

Bonham Carter played Bellatrix Lestrange in 2007's Harry Potter and the Order of the Phoenix, 2009's Harry Potter and the Half-Blood Prince, 2010's Harry Potter and the Deathly Hallows – Part 1, and 2011's Harry Potter and the Deathly Hallows – Part 2. While filming Harry Potter and the Order of the Phoenix, she accidentally ruptured Matthew Lewis's eardrum when her character stuck her wand in his character Neville Longbottom's ear. Bonham Carter received positive reviews as Lestrange, described as a "shining but underused talent".^[24][25] She then played Mrs. Lovett, Sweeney Todd's (Johnny Depp) amorous accomplice in the film adaptation of Stephen Sondheim's Broadway musical, Sweeney Todd: The Demon Barber of Fleet Street. The film was released on 21 December 2007 in the US and 25 January 2008 in the UK.^[26] Directed by Tim Burton, Bonham Carter received a nomination for the Golden Globe for Best Actress for her performance. She won the Best Actress award in the 2007 Evening Standard British Film Awards for her performances in Sweeney Todd and Conversations With Other Women, along with another Best Actress award at the 2009 Empire Awards. Bonham Carter also appeared in the fourth Terminator film entitled Terminator Salvation, playing a small but pivotal role.^[27]

In May 2006, Bonham Carter launched her own fashion line, "The Pantaloonies," with swimwear designer Samantha Sage. Their first collection, called Bloomin' Bloomers, is a Victorian style selection of camisoles, mop caps and bloomers. The duo are now working on Pantaloonies customised jeans, which Bonham Carter describes as "a kind of scrapbook on the bum."^[28]

Bonham Carter joined the cast of partner Tim Burton's 2010 film, Alice in Wonderland as The Red Queen.^[29] Bonham Carter appears alongside Johnny Depp, Anne Hathaway, Mia Wasikowska, Christopher Lee and Alan Rickman. Bonham Carter's role was an amalgamation of two roles, The Queen of Hearts, and The Red Queen.^[30][31][32] In early 2009, Bonham Carter was named one of The Times newspaper's top 10 British Actresses of all time. Bonham Carter appeared on the list with fellow actresses Julie Andrews, Helen Mirren, Maggie Smith, Judi Dench and Audrey Hepburn.^[33]

In 2010, Bonham Carter played Elizabeth Bowes-Lyon in the film The King's Speech. As of January 2011, Bonham Carter had received numerous plaudits for her performance, including nominations for the BAFTA Award for Best Actress in a Supporting Role and the Academy Award for Best Supporting Actress.^[34][35] Bonham Carter won her first BAFTA Award, but lost the Academy Award to Melissa Leo for The Fighter.

Bonham Carter signed to play author Enid Blyton in the BBC Four television biopic, Enid. It was the first depiction of Blyton's life on the screen, and Bonham Carter starred with Matthew Macfadyen and Denis Lawson.^[36] Bonham Carter also received her first Television BAFTA Nomination for Best Actress, for Enid. In 2010, she starred with Freddie Highmore in the Nigel Slater biopic Toast, which was filmed in the West Midlands^[37] and received a gala at the 2011 Berlin Film Festival.^[38][39] She has now been confirmed to be taking on the role of Miss Havisham in Mike Newell's adaptation of the Charles Dickens novel, Great Expectations.^[40] She received the Britannia Award for British Artist of the Year from BAFTA LA in November 2011.^[41]

In mid-2011, Bonham Carter was reported to be in negotiations to star in a film adaptation of the musical Les Misérables, playing the role of Madame Thénardier. Her role was later confirmed on 8 September 2011.^[42] In April 2012, Bonham Carter appeared in Rufus Wainwright's music video for his single "Out of the Game," featured on the album of the same name.^[43]

On 17 May 2012, it was announced that Bonham Carter will be appearing in an adaptation of Reif Larsen's book The Selected Works of T.S. Spivet, entitled The Young and Prodigious Spivet.^[44] Her casting was announced alongside that of Kathy Bates, Kyle Catlett and Callum Keith Rennie, with Jean-Pierre Jeunet directing.^[45] She also appeared in a short film directed by Roman Polanski for the clothing brand Prada. The short was entitled A Therapy and she appeared as a therapy patient to Ben Kingsley's therapist.^[46]

Personal life[link]

Bonham Carter at the 2005 Toronto International Film Festival, promoting Wallace & Gromit: The Curse of the Were-Rabbit

In 2001, Bonham Carter began her current relationship with director Tim Burton, whom she met while filming Planet of the Apes. Burton has taken to casting Bonham Carter in his films, including Big Fish, Corpse Bride, Charlie and the Chocolate Factory, Sweeney Todd: The Demon Barber of Fleet Street, Alice in Wonderland, and Dark Shadows. They live in Belsize Park, London.^[47] Bonham Carter owned one of the houses, Burton later purchased the other and they then connected the two. She also lives in Sutton Courtenay, England.^[48]

Their son Billy Raymond Burton was born on 4 October 2003.^[49] At age 41, she gave birth to her second child, a daughter named Nell Burton, on 15 December 2007 in Central London.^[50] She says she named her daughter Nell after all the "Helens" in her family.^[50][51]

In August 2008, four of her relatives were killed in a safari bus crash in South Africa,^[47] and she was given indefinite leave from filming Terminator Salvation, returning later to complete filming.^[52]

In 2008, Bonham Carter and Burton sold their American flats for $8.75 million.^[53] In early October 2008, it was reported that Bonham Carter had become a patron of the charity Action Duchenne, the national charity established to support parents and sufferers of Duchenne muscular dystrophy.^[54]

Bonham Carter is known for her unconventional sense of fashion,^[55][56] which has been described as "shabby chic".^[57] Despite her often controversial fashion choices, Vanity Fair named her on its 2010 Best-Dressed List^[58] and she was selected by Marc Jacobs to be the face of his autumn/winter 2011 advertising campaign.^[59] She cites Vivienne Westwood and Marie Antoinette as her main style influences.^[58]

Filmography[link]