Talking Vampires And Vulnerability With Chloé’s Latest Face
It’s safe to say that Chloé has a thing for blondes. Over the past few years, the French house has enlisted the services of flaxen-haired beauties like Chloë Sevigny, Clémence Poésy, Anja Rubik, and Raquel Zimmermann to star in its campaigns and commercials. Starting next week, the mantle will be passed to golden-haired British up-and-comer Imogen Poots when Chloé’s new ad for its eponymous scent drops online. Film buffs might remember Poots from her breakout performances in 28 Weeks Later and A Solitary Man, but vampire enthusiasts will be more familiar with her latest role opposite Colin Farrell in Fright Night, in theaters now. “I think it’s because vampire movies resemble the forbidden, and temptation is one of humanity’s greatest enemies,” Poots surmises of the Twi-hard phenomenon and all that it’s spawned. “I’m completely a victim of it, but the genre explores that in a cool way,” she says. Here, Poots dishes on perfume and how she got the tawny locks that ultimately crowned her a Chloé girl.—Celia Ellenberg
When you’re not warding off vampires, what do you look for in a role?
The people involved, if I’m passionate about it—making a film is a collaboration. This director I worked with used to come on set every day and say, “OK, let’s make art!” And I thought that was a wonderful way of describing it. A lot of films now are so disposable and forgettable.
Did you get the same “let’s make art!” vibe in front of Inez and Vinoodh’s lens for the Chloé campaign? What was the difference between shooting this campaign and shooting a movie?
You obviously get used to ignoring the camera on film sets—and you have a character that you’re playing. With fashion, it’s an extension of you and you’re representing yourself. So with Chloé, I made “Chloé” an alter ego that I could explore so I wasn’t too vulnerable.
Who, exactly, did you imagine “Chloé” to be?
Someone who is very sure of her self. Confident. [She] is quite a bold person and is control of many aspects of her life.
Like, say, her hair? It seems as though yours has gotten brighter over your past few films. Did you have to go even lighter to, er, play, Chloé?
I had actually just finished shooting The Late Quartet with Philip Seymour Hoffman and Catherine Keener and I dyed it for that at Sally Hershberger in New York. I’ve actually had it dyed even more blonde since then for a British independent film I’m doing. We wanted it to be an odd shade of blonde, an ash blonde for that role with dark brows. I think it’s cool to change hair color and hairdos for different roles.
Do you change fragrances for different roles as well? What’s your relationship to scent?
You piece together your life based on people you’ve met, jobs you’ve had, and fragrance is just as important as far as nostalgia and recollections. I love Jo Malone Pomegranate Noir and Vivienne Westwood Boudoir. Chloé is something I wore for a year when I was about 19 so it’s quite wonderful to revisit it.
What are your other beauty staples?
I always use lip balm and I like to have mascara on me. But to be completely honest, I’m not really into makeup that much. I think it’s a shame to see a lot of young girls with a lot of makeup on. I think you need to embrace what you have, which is hard to do. But the most beautiful people I know are beautiful to me because of the way they live their lives.
Photo: Courtesy of Chloe