Charlotte Rampling Topless

Charlotte Rampling Topless
Exclusive: Charlotte Rampling naked in 1971: Her son says nude scenes have plagued him for decades
Jessica Boulton Showbiz Editor (Features)
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Movie director Barnaby Southcombe, 42, revealed his sons have also recently seen their granny in a new light after Googling her
The son of Broadchurch star Charlotte Rampling has suffered a lifetime of blushes over his mum’s nude scenes.
Barnaby Southcombe, 42, said: “It’s like ‘Oh god, mum!’ She’s at it again.
"It’s embarrassing at the best of times, but when there’s someone at school who says their father fancies your mum, that’s weird.”
And the movie director – Charlotte’s eldest son from her first marriage to actor Bryan Southcombe – revealed his sons have also recently seen their granny in a new light after Googling her.
Roman, 12, and Gabriel, 10, call Charlotte Go-Go, because she is so energetic and always “on the go”.
He said: “They laugh at some pictures when they find them. They’re like ‘Oh, Go-Go!’”
Charlotte, 68, stars in Broadchurch as recluse QC Jocelyn Knight.
But, as a darling of arthouse cinema, she was naked in a dozen movies in her four-decade career.
She stripped in 1971’s Addio, 1974’s The Night Porter, Hammers Over the Anvil in 1994 and Life During Wartime in 2009, aged 64.
But Charlotte, who did Playboy in 1975, and recently became one of the oldest women to be the face of L’Oreal, has always just wanted to encourage women to be proud of their bodies, Barnaby said.
He added: “She’s all about honesty. That’s why she’s against Photoshop and plastic surgery. She taught me to be true, honest. I can be proud I guess, in retrospect.”
Fortunately for Barnaby, who is executive producer on upcoming Drew Barrymore film Miss You Already, there’s little chance of Charlotte disrobing on Broadchurch.
Around 7.6 million viewers watched her steal the show as the QC who is bullied back into court.
And, after wanting mum to cover up for years, Barnaby’s begging her to reveal all about this series: Did Joe really kill Danny Latimer?
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By
Bernadette Morra

Charlotte Rampling picks up the phone at her home in Paris after two rings, and even her upbeat “How are you?” suggests a smile. The chuckles and giggles are so frequent during our hour-plus chat that if they were spliced together, the result could be a laugh track for a Saturday Night Live sketch. Which is surprising, because of all the things the 74-year-old actress is known for, giddiness isn’t one of them.
With more than 100 film performances, Rampling has been called icy, imperious and aloof. The characters she is best known for are troubled in one way or another: the institutionalized ex-girlfriend in Woody Allen’s Stardust Memories , the deluded wife of a missing husband in François Ozon’s Under the Sand and a concentration camp survivor who has a sado-masochistic affair with the Nazi officer who raped and abused her in Liliana Cavani’s The Night Porter . Referring to one of her very first films, the 1966 hit Georgy Girl , critic Peter Sobczynski later wrote that “she captures the dark flip side to the carefree Swinging Sixties era…to almost terrifying effect.”
When she finally does play someone who’s got it all together — the psychiatrist Dr. Evelyn Vogel in the Showtime series Dexter — Rampling still keeps us on edge as she stealthily navigates her complex relationship with the psychopath played by Michael C. Hall.
Rampling’s next turn is in Denis Villeneuve’s Dune , which has been pushed to an October 2021 release. But if the trailer is any indication, she will be no less compelling. She is a highlight of the three-minute preview in which she orders a boyish Timothée Chalamet to choose between pain and death.
Her method, she says, is no method. “I don’t really prepare in terms of thinking what I’m going to do,” she explains in a friendly, lyrical tone. “I understand what the scene is about by reading it, and I integrate it and learn what I am going to be saying. I’ve always worked this way. I’m a naturalist, and I don’t want to fake anything. I trust my feelings — I’ve got many of them — and I know they’ll come up when I need them.”
Rampling refers to herself as “a very complicated person inside” and then adds: “But when I’m out there doing things, I’m very natural. It surprises many people because some of the roles I’ve played are quite dark, but that’s all part of my inner world. That’s what an actor plays with — the shadow side of themself.”
Her naturalness, combined with a Hatha yoga-toned frame, point-blank gaze and lack of inhibition, has also made her a favourite subject of the fashion set. Marc Jacobs’s Fall 2011 collection for Louis Vuitton was inspired by Rampling’s attire in The Night Porter . Jonathan Anderson cast her in a book for Loewe’s Spring 2017 collection. And Rampling gives Jacobs an acting class in a highly amusing video for Givenchy’s Spring 2020 campaign. Jacobs’s performance is cringeworthy, but, she insists: “He was faking being a bad actor. That whole thing was camped up. And he doesn’t want to be an actor — though he thought he did at one time.”
One of her most notable fashion shoots was with Juergen Teller at the Hôtel de Crillon in Paris for Jacobs’s Spring 2004 campaign. In one series of images, the photographer cavorts nude on a grand piano while Rampling plays. Five years later, Rampling (then 63) and model Raquel Zimmermann posed naked for Teller in front of the Mona Lisa . “People might say the pictures we did together are strange and weird,” says Rampling. “But there was nothing perverse; it was all done in an open, loving way — like kids playing. That’s what we tap into when we are performing and making teams and imagining these other people. It’s very much like playing ‘let’s pretend’ when we were kids,” she says, giggling.
The iconic nude that Helmut Newton took of Rampling in Arles, France, also came about spontaneously. She had been asked to pose for Playboy by the production company for the John Boorman film Zardoz , which she was promoting. She suggested they hire “a modern photographer who would do stylish things and not just silly Playboy things.” So they found Newton, who was already known as a fashion photographer but hadn’t done nudes. After the Playboy shots were done, Newton proposed they move to a richly decorated hotel to do some images for themselves. “Just a half an hour and we’ll do what you feel comfortable with and just click-click; if you don’t like them, we can dump them,” Rampling recalls Newton saying. “I’d gotten on well with him, and I thought, ‘What is there to lose?’ So we went and did them very quickly. We were really just having fun. When I see how much that photo has pleased people over the years, I’m really happy because it was done so naturally. So much work is done under a lot of pressure and pain that to get something natural is really quite difficult. But this was a magic moment.”
Rampling was born in Sturmer, England, to a manufacturing heiress and a British army officer who had won an Olympic gold medal in track. She was educated at private schools in England and Versailles and was working in a typing pool at an ad agency when executives cast her in a Cadbury commercial. Things snowballed from there. Rampling says that she has never actively searched for work; it has always come to her. She feels that coming of age in the freewheeling ’60s had something to do with how things unfolded.
“There were no restrictions,” she says. “Just walking down the street, I was spotted and someone put me in a small film. It so happened that that film went to Cannes and won the Palme d’Or.” The movie was the 1965 comedy The Knack…and How to Get It , which also launched the careers of Jane Birkin and Jacqueline Bisset. “Everything could be an accident in that way,” she adds. “People say I’m so lucky, and I say it was the time. I was there in the right place at the right time, and I had the right face and could do the job well.”
Those early years were marred by tragedy, though. Her sister, Sarah, took her own life when Rampling was 20. For years, her father led the family to believe that Sarah had died of a brain hemorrhage, fearing his wife wouldn’t be able to cope. As it was, she suffered a stroke not long after her daughter’s death.
Rampling went through her own depression in her 40s, telling The Sunday Times Magazine : “It’s a dark, dark sickness. You just live with your time and try to work out as well as you can how the f*ck you survive in it.”
Around the same time, her ex-husband Jean-Michel Jarre introduced her to the mostly black designs of Yohji Yamamoto, which would become the core of her fashion uniform. “The clothes really suited the moods I was going through,” she explains. She has since amassed “a huge amount of vintage Yohji.” “I still do like it, and I still almost always dress in black and white,” she adds. She also likes Y’s and supple black jersey Agnès B pants. But her footwear is strictly black lace-ups by Church’s. “I have two pairs, and they’re very old – 20 years, I think,” she says. “I’ve had them remade and even remodelled because they didn’t do that model anymore. They are absolutely amazing. I wear them barefoot. I have other lace-up shoes that I don’t really wear because they are not anything like what these are. These are beautifully made and have moulded to my feet. And like the Yohji jackets, they will probably last forever.”
Rampling has little desire to shop now, she says, and is quite happy to stick with her old favourites. “I think a lot of people will be getting into this way of life because there is something very sensual and personal and intimate about having clothes that become you,” she says. “They are part of the way you walk, the way you move and lounge around. You know how to be in them, so you can put them on and know you are going to look just the way you want to look. You don’t feel the clothes on you anymore, which is a really good feeling.”
Rampling has projects on the horizon, though she admits: “Quite often, I say to myself, ‘Do I really want to carry on making films?’ And then some brilliant script will pop up.” Otherwise, she enjoys biking around Paris and going out to dine and see films (when the city is not in lockdown). She lost her partner, French businessman Jean-Noël Tassez, in 2015 and has grown children — Barnaby Southcombe, a director, and David Jarre, a musician and magician — from her two marriages.
And given the fact that her father lived to be 100, Rampling still might have a lot of runway left. But unlike many public figures of her vintage (she is the same age as Cher), she isn’t into “cosmetic enhancements” to turn back the clock. “I did a bit but very little — like putting collagen in the lines — and nothing really changed my face so I ended up not doing it anymore,” she says. “And I couldn’t face going into surgery and coming out and looking at my face. What would I see? Probably a cleaner face with the lines wiped out. But I wouldn’t be seeing myself. I just couldn’t comprehend that. Whatever happens, I will carry on with my face as it is. But it hasn’t worked out too badly,” she adds, laughing yet again.
Photography by NELSON SIMONEAU. Styling by DARRYL RODRIGUES. Creative direction by GEORGE ANTONOPOULOS. Hair by BRUNO SILVANI FOR ARTISTS UNIT. Makeup by MARIA OLSSON FOR WISE & TALENTED/MAC. Fashion assistant: ORIANNE DROUET.
Surrealism is staging a fashionable comeback.

By
Isabel B. Slone

One evening in April, I was deep in a rabbit hole of browsing the Ssense website when I happened onto something so bizarre that it made me question whether or not I was still in possession of a sound mind. The item in question was a pair of sickly-green knee-high boots; each boot had not a square or almond toe but four splayed digits, resembling an alien foot. They were less “footwear” than “partially sentient creature that appears to have wriggled out of Shrek’s swamp.” As I attempted to determine what type of customer might purchase these $1,650 boots, all my molten brain could scrounge together was “slime fetishist” or “costume designer outfitting a community theatre production of Flubber .” (I later found an image of Tessa Thompson wearing a version of them in black with a metallic-gold shredded mini-dress at a 2021 Met Gala after-party, but even her insouciance couldn’t convince me of the appeal.)
The boots are a twisted creation of Avavav, the Florence-based brand whose creative director, Beate Karlsson, is responsible for other preposterous garments such as a dress that appears to be sprouting goitres from the hips and a pair of silicone bike shorts crafted to mimic a photorealistic ass, nicknamed “The Bum.” The very existence of such garments raises the question “Where do we draw the line between clothing and costume?”
People wear costumes to transform themselves into someone else. They are pantomimes, used to escape one’s present circumstances. But the startling garments I’ve seen lately don’t seem to reflect a desire to place oneself within an alternate reality; rather, they seem to be a manifestation of who we are. As renowned fashion critic Sarah Mower wrote in her review of Loewe’s Fall 2022 show, “In times when reality becomes outrageous and nonsensical, it’s only logical that fashion should start to reflect illogicality.” In a world where there are no rules and nothing matters, the only thing left to dress up as is ourselves.
The Avavav boots join a litany of other bizarro items that while not exactly “taking over” are certainly ascending in popularity. The Fall 2022 runways were dominated by surrealistic elements, like Loewe’s balloon bustier dresses and Moschino’s musical-instrument ensembles. Even eternally ladylike Dior embraced eccentricity with glow-in-the-dark tubes sewn onto bodysuits. The ascendancy of new style icons like Sara Camposarcone , a content creator based in Hamilton, Ont., whose style resembles what the unholy love child of a clown and a fairy princess might wear, and New York’s Clara Perlmutter, better known as @tinyjewishgirl on TikTok, who looks like a Gen Z reincarnation of a ’90s club kid, confirms that after a long absence, irony and freakishness are back.
Every day is like Halloween more than two years into a global pandemic in which the simple act of getting dressed has become a celebration of life. Perhaps clothing has become so anarchic to compensate for the fact that living through one of the scariest imaginable events in human history has turned out to be less like the dystopian film Mad Max and more like Groundhog Day — just with more screen time.
“I gravitate toward colour and sparkle because they bring me joy,” says Shea Daspin, 32, an LA-based stylist who describes her approach to dressing as similar to the technique artist Marcel Duchamp popularized, in which he created sculptures out of a variety of found objects. Daspin began dressing like Rainbow Brite on acid at the age of 13 after discovering Japanese street-style magazine Fruits , which has been her stylistic North Star ever since. “I have a lot of different personalities within me, and it’s almost like I want to express them all at the same time,” she says. One day she might dress up as a rich Park Avenue socialite, another day as a handler at the Westminster Kennel Club Dog Show. But don’t call it a costume. “Just because something is over-the-top doesn’t mean it’s a costume,” she says.
Growing up, Daspin’s unconventional style marked her status as an outsider. But as culture has become more receptive, even celebratory, of wild clothes, she now sees her wardrobe as a way of spreading happiness to strangers. “It’s not a form of activism per se, but it’s hard to see a bunch of sparkles and not think ‘That’s fun.’”
The hunger for endless whimsy may also be a side effect of experiencing the world primarily through screens. Boring outfits simply don’t capture your attention when you’re scrolling endlessly through an app. It’s always the more outlandish the better, which is perhaps why TikTok trends like “clowncore” and “night luxe” are seemingly ephemeral, appearing and disappearing so quickly.
The prevailing appetite for absurd clothes is not only an outcome of the past but also a vision of the future. Much is being made of the metaverse — a parallel virtual reality in which inhabitants can outfit themselves like the avatar in a video game, donning dresses covered in scorching flames, for example, or veiled in a cloud of mist. In the metaverse, anyone can dress like it’s the Met Gala, even if they’re at home in sweatpants.
Fashion — and culture at large — is in the midst of a mass reimagining of possibilities. Previous boundaries — such as not being able to wear a dress that’s on fire — no longer apply. Even if an item doesn’t initially make sense in real life, it might feel at home in a digital archive where a person can still experience the playfulness of dressing up without being subject to real-world limitations.
Perhaps the nonsensical Avavav slime boots didn’t compute for me, not because they are ridiculous or impractical but because they weren’t meant for the earthly realm at all.
This article first appeared in FASHION’s September issue. Find out more here .

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White | Brunette Hair | Medium Tits | Real Tits
Charlotte Rampling acted in numerous films like The Damned, The Night Porter, Stardust Memories, Angel Heart, etc. She was also the model and muse working with Francois Ozon. In 2015, she published her autobiography in French.
Nude Roles in Movies: ‘Tis Pity She’s a Whore (1971) , Angel Heart (1987) , Charlotte Rampling: The Look (2011) , Deception (2008) , Flesh of the Orchid (1974) , Foxtrot (1976) , Giordano Bruno (1973) , Hammers Over the Anvil (1991) , Hannah (2017) , Heading South (2005) , La Chair de l’orchidee (1975) , Life During Wartime (2009) , Mascara (1987) , Max mon amour (1986) , On ne meurt que deux fois (1985) , Radetzkymarsch (1995) , See How They Run (2002) , Signs & Wonders (2000) , Sous le Sable (2001) , Swimming Pool (2003) , The Eye of the Storm (2011) , The Night Porter (1974) , The Purple Taxi (1977) , Tristesse et beauté (1985) , Under the Sand (2000) , Yuppi du (1975) , Zardoz (1974
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Charlotte Rampling Topless

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