Knickers by Agent Provocateur and crystallised bra by I.D Sarrieri

Black pants by Agent Provocateur and black tights by Falke 

Lace bra by Eres

All clothing Louis Vuitton S/S14

Photographer Adam Whitehead
Fashion Editor Grace Cobb
Hair Ben Jones at Jed Root using Bumble and Bumble
Makeup Laura Dominique at Streeters using M.A.C Cosmetics
Set Design Andrew Tomlinson at Streeters
Casting Nic Burns at Star & Co
Lighting Assistance Gareth Horton
Fashion Assistance Camilla McGregor
Digital Operator Pedro Koechlin
Model Georgia Taylor at IMG London

The post A DAME THAT KNOWS THE ROPES ISN’T LIKELY TO GET TIED UP. appeared first on Wonderland.

Film by Sharna Osborne

Photographer Kerry Hallihan
Fashion Editor Grace Cobb
Set Designer Gillian O’Brien
Digital Tech Jonathan Stokes
Hair Stylist Vi
Makeup Artist Dotti
Manicurist Zarra

The post BEHIND THE SCENES: EMMA WATSON ‘BLOOM OF THE WALLFLOWER’ appeared first on Wonderland.

Grab yours 7th Feb!
Photography: Kerry Hallihan 
Styling: Grace Cobb 

The post EMMA WATSON FOR FEBRUARY WONDERLAND appeared first on Wonderland.

Betty Adewole has just had the best season of her career, walking for labels such as Alexander McQueen, Givenchy and Prada, the last as an exclusive.

What was the highlight of your season?

I think Prada. That was pretty amazing.

What did you think of the M.I.A and Britney soundtrack?

It was one of the best soundtracks. Amazing! It was hard to not break out into a little dance.

How was Givenchy? That was quite amazing. 

Yes! It was epic, they had like cars in the middle of the floor, live drums.

Quite amazing. Have you been watching The Face? 

Old episodes, not the new ones.

What would you do if Naomi Campbell told you to fix your lipstick?

[Laughs] I’d check it.

You’d have to wouldn’t you.

But I don’t wear lipstick so it doesn’t matter.

How’s the rest of the season shaping up for you?

I shot British Vogue yesterday. And we’re holding five other really good editorials a the moment so it’s a really good season.

Do you have a life outside of work anymore? 

Yes, if I make it happen. I see my friends briefly but in intense intervals so it’s cool. Not as much but they understand.

Where do you like going out with your friends? 

East. I’m from Hackney so…

Betty’s Agent: We scouted her at (infamous gay fashion hang out) the George and Dragon.

It’s my local. I grew up around there.

What do you think about when you’re walking the runway?

Sometimes a track will play in my head like ‘work work fashion baby’ and I’m like acting, I switch it on.

Aside from the George & Dragon what are your hobbies?

I love going to the cinema, watching films. I like sci-fi, I used to love horror but not anymore because it started giving me nightmares so I had to stop watching it. Sci-fi I love. Like Fifth Element, one of my favorite films.

If you were in a horror film how would you survive?

Wit and cunning! I’m pretty charming.

True say. 

Words: Jack Sunnucks

Fashion Editor: Grace Cobb

Photography: Kerry Hallihan

The post BETTY: OUR COVER STARS SPEAK FOR THEMSELVES appeared first on Wonderland.

The second cover star of our September issue revealed! And it’s Downton Abbey’s Lily James, who plays Lady Rose MacClare, wearing Prada.

The Autumn issue of Wonderland comes out on 5th September at WH Smith and all good newsstands. Subscribe here.

Photographer Cuneyt Akeroglu 
Fashion Editor Grace Cobb
Beauty Kelly Cornwell

The post LILY JAMES FOR WONDERLAND AUTUMN 2013 appeared first on Wonderland.

This article originally appeared in Wonderland issue 24, Nov/Dec 2010.

A friend of a friend is a child psychologist. I wonder if I should call him. I would tell him that I am on my way to meet a 13-year-old girl notorious for pretending to be a violent criminal murderer with an outlandish arsenal of heavy-duty weaponry. More recently still, I’d tell him, she has been pretending to be a vampire, crazed by an insatiable bloodlust, doomed to never love by a curse spanning centuries. But then we all do strange things at 13.

In a grand apartment in Kensington, Chloe Moretz sits on an elegant sofa that stretches out like the arched back of a cat. We are talking about The X Factor, with which she’s become obsessed while temporarily living in England, working on her next film. I mention the teen boyband contestants One Direction. She curls her arms around themselves, pulls them in tight and blushes. “They’re so cute,” she says. Every 13-year-old I have ever met is stranger than Chloe Moretz.

Hollywood actresses have tantrums.

[Unlike most Hollywood actresses, while listening Chloe is probably thinking about One Direction. About their thick bulbous fringes, the way they put their hands in their pockets and shrug…].

You’re also a teenage girl. Tantrums must be kind of obligatory.

[She twists her tiny neck and points to a laptop case that sits on the table] My mom took my computer away from me. Look, it’s over there. It’s been in that case for like a week now.

Why? You must have been really terrible.

Yeah. She takes my phone too, but I just got that back. If I talk back, she takes the phone. If I don’t change my attitude, I won’t get it back. [Smiles]. I have to do a lot of attitude-switching.

Chloe is lucky she doesn’t have a swear box. She rose to widespread fame at the beginning of 2010 as potty-mouthed 11-year- old assassin Hit Girl in the film Kick Ass. She arrived on screen, purple wig, eye mask and nunchucks, with the beautifully put “Okay you cunts… Let’s see what you can do now!” Hit Girl is the alias of Mindy Macready, who has her childhood cruelly snatched away when her policeman father, played by Nicolas Cage, is framed by a gang of mobsters he’d been pursuing and wrongly imprisoned. Upon his release he sets about training his daughter in advanced martial arts and the use of guns and knives. Together they set about demolishing the extensive network of criminals who had wronged them in a series of explosive and gruesome set pieces, flanked by a wannabe superhero desperate for a more exciting and just life.

Children and violence mix well. Not in real life so much, but in movies. Macaulay ‘Kevin’ Culkin’s imaginative attempts to enact lasting brain damage on two pig shit-thick burglars in Home Alone still echoes through Christmas television scheduling still. Every Boxing Day, families come together to watch a boy smash in the faces of two vagrants with cans of paint.

But Hit Girl belongs to a far more powerful and shocking set of child turns, ones that have raged controversial and remained iconic, like Linda Blair in The Exorcist or The Omen’s Damien. Only Hit Girl didn’t even need the devil on her side. Matthew Vaughn’s Kick Ass explored parenthood, violence and what it is to be a fantasist through the colourful prism of a comic book. It was Freud on fizzy pop, inventive, funny and cool.

Tell me about your first day at work.

The first day we filmed, that was a cool day. It was the scene where Nicolas Cage shoots me. We were in a working 1800s sewer in London. It was freezing. The wind was blowing the rain underneath us. It was pretty insane.

Nicolas Cage. I heard he was mental.

“No” she says, with poise and a grin. “If he tells you, you’re cool, YOU ARE COOL.”

Chloe Moretz is cool. She sits in a tracksuit, hair a meshed bob. In front of her is a tray with a giant teapot on it. I think of all of the things that child stars are. Precocious. Disinterested. Chloe pours me a cup of tea. Every 13-year-old I’ve ever met is more precocious and disinterested than Chloe Moretz. “Mom,” she says, “what was my favourite film growing up?”

Chloe’s mum Teri enters. I think of how a child star’s mum is meant to be. Pushy. Overbearing. Unlikable on an Olympic scale. “Your favourite movie was Legally Blonde,” she says. “And Mary-Kate and Ashley,” Chloe says, “I loved them.” Teri sits down proudly on the sofa, like a mum about to fan out a stack of family photos. She is none of these things.

“You loved Mary-Kate and Ashley Olsen,” she says. “On your fifth birthday party, it was a princess-and-pyjamas party, remember? All your friends wore pyjamas and we had a big theatre at our house and all your friends came over and watched Mary-Kate and Ashley.”

Chloe laughs. “I loved them… and I even had a dog named Bruiser, after the dog in Legally Blonde.”

In her new film, Let Me In, the same Chloe Moretz plays a 12-year-old vampire, Abby, who snaps her victim’s necks after feasting on their blood. “Let Me In is kind of its own genre,” she says. “It’s a love story but it’s a horror, but it’s not a horror but there is a lot of blood. But there’s not blood. Its so many different things, it has so many different dimensions to it.” Chloe plays the part of Abby. It is another contentious role.The film, Let Me In, is a remake of 2008’s Let The Right One In, a Swedish movie so beloved by critics many of them bored themselves talking about.

And that never happens. As such, the film needed a sensitive, careful remake, one that wouldn’t irk a legion of the original’s ardent devotees. Fears that it would be ruined by an American sensibility aren’t realised. Like it’s predecessor, and the book on which they’re both based, Låt Den Rätte Komma In by John Ajvide Lindqvist, the story – a tragic one in which a pre-pubescent boy, bullied at school, finds solace in a new and only friend who happens to be a vampire – is given the room it needs to breathe. And it needs lots of room. Handled badly, it’d be quite easy to imagine that the tender subtleties in an examination of friend- ship and first love could get lost among the torn aortas, broken spines and bloody fangs. They just would, I suppose.

Chloe pitches it somewhere near perfectly. She is believable as a sweet, reclusive child, she is believable as a princess of the damned, doomed to a gory and unfulfilled immortality. As an unholy combination of the two, she is staggering.

“The first time I saw Let Me In, at the premiere, you know the part where I jump out of the bathtub… I was the only person in the whole cinema to scream,” she says. “You were scared?” I ask. “Of course I was,” she says. “I’m 13.” She flashes me the slack-jawed international language for ‘duh’. She is smart and erudite, proof that you can be both of these things and still hold out in the belief that everything is “awesome.” I meanwhile am reminded that I’m no better now at reading the thoughts of 13-year-old girls than I was at 13, when I tried and failed…a lot.

The path of the child star is not set nor guaranteed. Ask Jonathan Lipnicki from Jerry Maguire, The Karate Kid’s Ralph Macchio or a couple of the gawkier Goonies. Chloe’s has been quick. There haven’t been many years to cram it into. Beginning in 2004 she was schooled in American television serials like The Guardian, and bit parts in the bigger likes of My Name Is Earl and Desperate Housewives. Her first big movie role came when she played Joseph Gordon Levitt’s little sister Rachel in (500) Days of Summer, where she convincingly dispatched relationship advice far beyond her years to her lovelorn sibling. But not even the hardiest, acclaimed soothsayer plot the trajectory that followed.

Continued success, on the scale a child star first finds so spectacularly rests not just on standout talent, but on a number of other cruel and uncontrollable variables. Puberty can mine a face of the charm that once lit screens like a hammer taken to a soft clay pot. A growth spurt here or there and your not only screwed but the Oscars dress you’ll never wear wouldn’t even fit if you could afford it. But Hollywood fable would have us believe that a solid family is all. Ask Lindsay Lohan.

Tell me about your family.

We are super close. As thick as thieves. I have four brothers. We can be mad at each other for two minutes. Then we go for dinner.

They don’t get jealous? I mean, you’re a film star.

One of my brothers is an amazing rower. One is an amazing writer. One is an amazing actor. Everyone is big in their own right. No one is at the top of the totem pole.

So how does it work when you get sent a script – say Kick Ass for example…?
She knows where I am going, she sees me career down the road, my clumsy questioning – an articulated lorry with no brakes amid a truck full of sirens. And so can her mum. I’m asking, without asking, how easy it is to put your daughter forward for a role defined by the creative use of the word ‘cunt’. Except I don’t, because there is a 13-year-old girl in the room. One who sounds much cooler than me when she says it.

Teri leans in: “We’re on our way to the LA Film Festival. Chloe is, like, 11 at this point. She looks up out of the car and sees a poster of Angelina Jolie in Wanted. She says ‘Mom, I wanna do an action film like that.’ I was like, ‘You can’t even see that movie, it’s R-rated. You’re gonna have to wait a few years for a role like that, girlfriend.’”

I look across at Chloe. A giggle seeps through her big smile like expanding foam, tearing apart her bared teeth. “I waited four months,” she says, “Then Hit Girl came.”

“I know my kids,” Teri continues. “I read Kick Ass and it was one of the best scripts ever. She’s smart. She has older brothers and… Well, she hadn’t heard language like that before, but she’s not stupid. We have our lines and Kick Ass blurred some of them.” They are both smiling now. “But it was a special project.”

Chloe mulls it over then wriggles in her chair. “It’s not realistic,” she states. “She [Hit Girl] couldn’t kill all those guys. She couldn’t dodge bullets. In the end the older man who has trained all his life is gonna beat her down. The whole thing is so… fake.”

I feel like I’ve just asked Meryl Streep a stupid question. I decide to ask questions I’d ask a normal teenager. It doesn’t take long to again realise that I’m not talking to a normal teenager.

What’s your least favourite subject at school?

Bleurgh…Math. Algebra is so hard.

And your favourite?

History, I love it. Some subjects, even if you learn everything, you come to a point where people can’t know anymore. History is always happening. Never ending.

[I was 13 when i saw my first careers advisor, so ask…] What’s the best bit of advice you’ve ever been given?

Marty told me to keep my head on straight.

Marty?

Oh, I’m sorry. [She genuinely is.] Scorsese.

Chloe is working with the man – who saw enough in Jodie Foster to trust her to lend the necessary gravitas it took to bring to life a teenage prostitute in Taxi Driver – on a film called The Invention of Hugo Cabret. She plays the lead, Isabelle, a 12-year- old orphan who lives inside the walls of a Paris train station in 1930, alongside Ben Kingsley, Jude Law and Sacha Baron Cohen. In fact, she was filming at Pinewood that morning. I ask her a question, borrowing for her own infectious parlance.

How awesome was your day?

Yeah, awesome… So who do you think will win The X Factor?

[Chloe Moretz isn’t like any other 13-year-old I’ve ever met. And at the same time, she really really is.]

Have you ever played with your own Kick Ass action figure?

No. But I want to.

[I never do call that child psychologist.]

The post Flashback Friday: Chloe Moretz appeared first on Wonderland.

Long after theater audiences discovered her luminous, soulful turn as Nina in Ian Rickson’s gorgeous production of The Seagull, holding her own opposite Kristin Scott Thomas’ ravishing Arkadina, first in London at the Royal Court and then on Broadway, Carey Mulligan burst onto the Hollywood scene in the lovely film An Education.

Mulligan had been in movies before — most notably in her debut as Keira Knightley’s sister in Joe Wright’s 2005 adaptation of Pride & Prejudice — but An Education, directed by Lone Scherfig, based on Lynn Barber’s memoir with a screenplay by Nick Hornby, shot her out of a cannon, winning her a BAFTA for Best Actress and landing her an Oscar nomination. But how do you follow up a starmaking turn like that?

We’ll see what happens this year, when Mulligan appears in the big screen adaptation of Kazuo Ishiguro’s masterful and much loved semi-science fiction novel Never Let Me Go, as well as the long-awaited sequel to Oliver Stone’s Wall Street, Wall Street: Money Never Sleeps, out later this year.

How has this crazy ride of An Education worked out for you?

It’s been 14 months since we premiered An Education at Sundance and it feels like forever. I miss work. I haven’t worked since the end of Wall Street and that’s the longest I’ve taken off since I started acting. But the award stuff is so frequent that if you tried to work at the same time, you’d be running in and out of your job and that’s not ideal. I mainly just miss working. I was really freaked out at the beginning—not to a crippling degree—by the red carpet stuff. It just felt scary, but slowly I’ve realised, this is just so mad. And the more tired I am, the more jetlagged I am, the less scared I am.

What part is scary?
The photos. That many people looking at you. The possibility of winning where you’re going to have to get up and say something. The times when you actually have to prepare a thing to say, and you wonder: “Should I try to be funny? I shouldn’t try to be funny.” But I’ve started taking my best friend, who’s an illustrator in London, to these events. I brought her to the SAG awards and she said, “This is so weird,” and you’re suddenly like, “Right! This is bizarre,” and you can step out of it and laugh. My mum, my brother and my dad are all coming to the Oscars and they’re going to be so freaked out and amazed that I can live vicariously through them.

Remind me how everything started for you.

Pride & Prejudice was my first job. I was at boarding school and I met Julian Fellowes. He came to give a talk. I told him I wanted to be an actress and he said, “Well, that’s silly. Marry a banker.” It was a really small exchange. And I left school and my parents wouldn’t let me go to drama school and I’d applied in secret and not gotten in. And then I was working as a barmaid and a runner at a film studio and I was headed to university and I thought, “If I end up going, I’m probably going to drop out and that’s going to be a waste of everyone’s time.” I got Julian Fellowes’ address, and I wrote him a letter telling him my situation and asking him how to get into the business without going to drama school. Because even if I could get into drama school, I knew I couldn’t go because I didn’t have any money.

Why didn’t you get in?

Because I had a really — touch wood — stable non-messed up life. And I went in there and did a monologue from Sara Kane’s Psychosis 4:48, and they were like, “Who are you?” I was so desperate to be deep and I had nothing to draw from. It was a disaster. So Julian introduced me to his wife Emma Fellowes; she introduced me to Maggie Lunn and her assistant, Camilla. Maggie casts everything in London, and Camilla introduced me to Robin Hudson, who was Jina Jay’s assistant, and Jina was casting Pride & Prejudice. And they were looking for young actresses to play the younger sisters. And the tapes got to Joe Wright and I did a series of auditions for him. And then it just started.

When you look back, was it easy getting into the business?

It was surreal, but Joe was looking for actresses who hadn’t acted professionally so he could make them do what he wanted. It was just perfect that it all fell together in that way but it was the biggest lucky break ever. I can’t say I really struggled but the struggle was before, when I tried to get into drama school. It’s a completely understandable fear to have your kid go into the most unstable industry on the planet. And so many people I know did train and came out of drama school and didn’t work. More than the financial instability and lack of security, what’s so heartbreaking is the idea that you might not get to do the thing that you want to do. Sometimes parents just want to protect you from the disappointment.

Not really, but I worked consistently, which is all I really ever wanted and you can’t hope for anything else. While I was doing Pride & Prejudice, I did my first play at the National, 40 Winks. I played a 14-year-old rape victim. It was Pride & Prejudice, with bonnets and ribbons and cake, and then this dark play. And then I did a big tv series of Bleak House on the BBC. But I worked steadily for a while so that was kind of perfect. I never saw a ladder to climb.

When you were making An Education, did it feel special?

I loved it, but I didn’t feel it would change anything. I thought it would come out in two arthouse cinemas. Peter Sarsgaard didn’t come to Sundance and he told me and Dominic Cooper, “Guys, don’t get your hopes up because it’s a really bad year for movies and the probability is that no one will buy it.” And we went and it sold and we went apeshit. The fact that someone was going to see it in America as well as England was crazy. When we were making it, we all loved it so much. Peter became like my brother. The crew was literally the coolest gang of people I’d ever met. Dominic and I became best friends. I was so sad to walk away, and I thought, I’m never going to be able to see them again. Now I’ve spent 14 months being like, “Hi Nick. Hi Dominic. Hi Alfred.” It’s been really nice because I’ve never gotten to do that before.

When did you have the sense that An Education would become a game changer?

Right after Sundance, I got Never Let Me Go. I’d read the book about two years before I’d read the script and I didn’t think I could get it because I wasn’t getting into the room for parts like that. Nick Hornby told the producer that he should hire me, and the weekend after the reviews for An Education came out in Variety and The Hollywood Reporter, they offered me the film. It was sort of mad. But it made that difference. Suddenly I got this part that I was desperate to play, and when I was wrapping that, that’s when Oliver Stone called because he’d seen An Education. Which is so far from Wall Street. A different universe. And everything else has happened in the last few months. I love Never Let Me Go so much and I’m so protective of the book. If I saw someone fuck up Kathy [the character she plays] I’d hunt them down. And there’s only so much you can do — you can only do your best. I’ve not seen a single frame of it so I don’t know.

Wall Street is your first big Hollywood movie, right?

I was really nervous about doing it, actually. But it’s a supporting role — it’s not Shia LaBeouf or Michael Douglas’ part. It’s one of the only female characters. I knew if I did the movie, people were really going to know me and I met Oliver and he was like no one I’d ever met. And I was so excited. He’s so intelligent. I walked into his office and I waited for a second, and he marched towards me, and he went, “Oh, you don’t have long hair, you look so different,” and I thought, “Does that mean I don’t get the job?” And then I followed him into his office, and he just talked at me. He’s so clever but sometime his mind will just flip from place to place. Oliver was challenging and he wasn’t mollycoddling. It was intimidating to be the only girl, but in a great way. I’ve always been the youngest and now I’m starting to not be the youngest and it’s kind of weird. You just suddenly realise, “I’m 24 and I’m not a kid anymore, and I’m not the least experienced person here.” But I had to be one of the boys, and that was really cool. He’d push us to play things really truthfully. I loved him, but he’s testing.

Do you think the sequel will have a similar effect sociologically?

I haven’t seen it but I watched a lot of the dailies. It’s a real Hollywood film, you can see that from the trailer, which for me is a completely different genre. My side of it is really the emotional story. Can’t you tell? You see me crying so much in the trailer. But I think it’s timely and that’s the only reason he made it. He’s never made a sequel before.

Is your character fairly strong?

I didn’t want to be “the girlfriend.” But she runs a liberal website so it’s Anti [Michael Douglas’ character] Gordon Gecko, and of course is going out with Shia’s character, so there’s the whole thing there.

Did you enjoy working with Shia?

The first time we read together we were so nervous. It was just me and Michael and Shia, and neither Shia and I looked up. You never know how these things are going to work. I’d wanted to work with Shia since A Guide to Recognizing Your Saints. He’s amazing. He was so incredible in that film, and we ended up working together well.

And so what comes next?

I actually don’t have a job. It’s been hard to make decisions whilst all this is going on because you don’t want to jump into something. I wake up in the morning and spend a half hour trying to figure out what I want for breakfast. I’ve been on so many airplanes! So I need to stop on Monday, take a week off, and then refocus. Two weeks ago I thought I never wanted to be in a movie again!

Why not?

I did The View, then a photo shoot, and took two red eyes in two days, and went to a critics award show and at some point in the evening my agent came up to me and was asking for the only half hour I had in the next two weeks. And I was home, so I wanted to see my friends and I was like, “Don’t take the five seconds left that I have. I just don’t want to be in a movie! I don’t want to have the responsibility of being a big actress, I don’t want to be on a poster.”

I was at a press conference and Woody Harrelson was answering questions in front of me and they were asking him what his motivation was, and how he felt about his character. I got up there, and they said, “What are you wearing?” And I thought, “There was a time when I was an actress. Not just someone who wore dresses.”

I don’t really care that much about fashion, I just have a brilliant stylist who dresses me, and in my own life, I’m pretty simple. So that side of things has been wearing. But then I slept for 15 hours after the Baftas and felt slightly more normal again. I don’t want to become annoying. I don’t want people to think, “Oh, her again.” I want to play supporting characters more often than lead roles, and I think that’s where the most interesting parts lie.

I’ve been thinking you’d be amazing as Lisbeth Salandar in the American remake of The Girl With The Dragon Tattoo. Have you thought about that?

No. I love them, though. But that would be incredible. They just made the Danish version of those. I read those three books in a fortnight. No one’s suggested that yet. I might campaign for it. A lot of the things I get are the quirky girl who wears a Ramones t-shirt and has black eye makeup.

You seem like a huge reader.

I read a fair bit. There’s nothing nicer than falling into a book but it’s really when I’m working, I’m pretty much reading. There’s nothing else to do on set. I’m trying to find a play to do in New York, but not very much is kicking around. It’s more of a case of trying to pitch myself, unless there’s a new play. With The Seagull, it’s hard because Nina is pretty much the role. So I don’t know. I’m trying to figure that out. It’s really the first time I’m ok stopping for a minute. I’ve been able to chill out. But I don’t want to be everywhere, not assuming that I would. I don’t want to take the responsibility of films rising or falling whether I’m good in them or not. I need a good director. I can see the difference with a director I’ve worked well with and one I haven’t. I’m still learning so much and I still need a steady hand. I want to work with someone who’s going to do as good a job as Lone did. She sculpted an amazing performance.

And how do you know that’s going to happen?

You don’t. You can’t take someone for three weeks to directing camp and check her out. You have to take a leap of faith, and it’s scary. And this is apart from whether the script is great and the character is great. What if in post-production they let you down? That’s probably why I’m more comfortable in theater: you have more control. In film, there are so many factors where your work can get manipulated from what you thought you were doing.

I wish I had a genius idea for a play you could do. What about George Bernard Shaw’s Saint Joan?

I’d love to do Saint Joan, I’ve been talking about doing it, but that’s a hard play to get off the ground. I just want to do something that really scares me. I don’t like the idea of rehashing parts I’ve already played, which is what people want to offer you.

You’re still based in London?

Yes. I probably would move to New York, but there’s no point in me fixing myself anywhere until I fix what the next thing is.

Maybe Sally Bowles in Cabaret would be a good part for you.

I would love that part. I can sing, you know?

They should remake the movie with you. Actually that’s a terrible idea.

Terrible idea! Terrible idea! Career suicide!

The post Flashback Friday: Carey Mulligan appeared first on Wonderland.

THREE’S A CROWD
PHOTOGRAPHER: Terry Gates
FASHION EDITOR: Carlos Nazario
HAIR: Nicolas Eldin
MAKE-UP: Morgane Martini
MODELS: Binx, Clarice and Lida Fox (Next)

SAME OLD CHIC, DIFFERENT DAY
PHOTOGRAPHER: Dima Hohlov
FASHION EDITOR: Grace Cobb
HAIR: Peter Gray
MAKE-UP: Ariel Yeh
CASTING: Nic Burns
MODEL: Patricia Gardygajlo (Next)

I WANT THINGS, A LOT OF THINGS
PHOTOGRAPHER: David Schulze
FASHION EDITOR: Anthony Unwin
HAIR: Rudy Martins
MAKE-UP: Hung Vannago
CASTING: Nic Burns
MODEL: Ruby Aldridge (Next)

TALK TO THE HAND
PHOTOGRAPHER: Dancian
FASHION EDITOR: Julia Sarr-Jamois
HAIR: Karin Bigler
MAKE-UP: Lucy Bridge
MODEL: Maria Loks (Next)

PRIMUS INTER PARES
PHOTOGRAPHER: Rory Payne
FASHION EDITOR: Stephen Mann
HAIR: Nao Kawakami
MAKE-UP: Jenny Coombs
MODELS: Joe Brotherton (Models 1) & Jamie Kendrick (FM)

YOU SAY RUDE, I SAY HONEST
PHOTOGRAPHER: Nicole Maria Winkler
FASHION EDITOR: Matthew Josephs
CASTING: Eddy Martin
HAIR: Rozanne Attard
MAKE-UP: Daniel Sallstrom
MODELS: Troy Copeland (AMCK) & Tim Schuhmacher (Supa)

THE NEST
PHOTOGRAPHER: Nick Haddow
FASHION EDITOR: Andrew Davis
GROOMING: Lee Machin
MODELS: Lukas Katinas (Elite) & Tyler Maher (PRM)

The post 14 Images From Our Biggest Fashion Section Yet appeared first on Wonderland.

(1) Special K: Kaya Scodelario for Wonderland

Featuring Kaya Scodelario, dressed in Dolce & Gabbana. Styled by Julia Sarr-Jamois and photographed by Mark Kean.

(2) The In Crowd: Young Hollywood

Featuring Ambyr Childers, Chris Zylka, Haley Bennett (seated), Analeigh Tipton, Shiloh Fernandez, Brie Larson and Tyler Posey (all wearing Prada) as the next big things of Tinseltown. Styled by Grace Cobb and photographed by Bjarne Jonasson.

The new issue of Wonderland is out on Friday 31st August. Buy it from WH Smiths and select newsagents or on sale internationally at magazinecafe.co.uk.