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Emma is on the cover of the December issue of British Vogue! The beautiful photoshoot was shot by Alasdair McLellan, who’s worked with Emma many times before. This is a big contribution to the promotion of the movie “Little Women“, which stars Emma, Saoirse Ronan, Florence Pugh and Eliza Scanlen, and is currently set to premiere at Christmas. Our gallery has been updated with images from the issue!

The age of influence, it’s said, is upon us. Whether on the front row or on the front benches – or simply leaning over our smartphones – we have more eyes on each other than at any time in history. As is also often said these days, it’s a lot.

Of course, in the fashion industry and across social media, the concept of an “influencer” has evolved in a few short years into one that we all fully understand. Many influencers are now stars in their own right, while millions more around the globe, armed with a new handbag and a winning filter, continue to strive for clicks and likes. It’s an important sea change, but I do sometimes wonder how many are doing anything truly useful with this modern superpower.

Emma Watson is one woman getting it right. Since she was cast as Hermione Granger in the Harry Potter franchise 20 years ago (aged just nine), she has been one of the most recognisable faces on the planet. Famous in practically every corner of the world, she accumulated influence the old-fashioned way; coming of age in the digital era means she now finds herself with a cross-platform following of over 100 million engaged and devoted fans.

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Hello everyone! Our gallery has been updated with two scans from the October issue of Empire magazine, which features an article about the movie Little Women, starred by Emma, Saoirse Ronan, Florence Pugh and Eliza Scanlen.

Emma is the guest editor (and the cover) of the March issue of Vogue Australia! We had expected not to get any news like this for a loooong time, seeing as there haven’t been any movie announcements lately… what a lovely surprise! The issue features a brand new photoshoot by Peter Lindbergh, and it goes on sale on February 26. We have updated our gallery with the beautiful photos, and you can read an excerpt of the article below.

After a year dominated by an alarming newsfeed, it seems we have hit a turning point in 2018. Silenced voices are becoming amplified and media outlets are shining a spotlight on the people and groups challenging for change. The pages to follow in this issue, Designing the Future, is a part of that change.

The word ‘change’ can be intimidating, riddled with expectation of outcomes and fear of failure. So I want to propose something to you: when steering a boat, a captain can shift the wheel one degree and it drastically changes the course of the boat. I would like to challenge you, after reading this issue, to make a one-degree shift, because a small change can make a huge difference.

Thank you, Vogue Australia, for allowing me this platform to share stories and movements I care about. Thank you, Peter Lindbergh, for your careful eye and such a joyous shoot. Thank you to all the collaborators for sharing your voice and your self. And lastly, thank you to anyone picking up this issue and reading it. You are the biggest piece to the puzzle of our global wellbeing. Join me in a one-degree shift!

Hello Emma fans! As you know, Emma has her own book club named “Our Shared Shelf” which you can join if you happen to have a goodsread account. She most recently interviewed Margaret Atwood, the author of The Handmaid’s Tale, which has been recently turned into a television show, not to mention it was Emma’s pick for May/June! Entertainment Weekly teamed up with Emma for this interview, and you can read the interview bellow! In our gallery you will also find scans from the issue.

Many celebrities have book clubs, but none share the clout of Emma Watson’s “Our Shared Shelf,” which has picked up nearly 200,000 members since it launched on Goodreads in 2016. As Watson wrote when she made The Handmaid’s Tale her May/June selection, “It is a book that has never stopped fascinating readers because it articulates so vividly what it feels like for a woman to lose power over her own body.” Thanks to the recent Hulu series, Atwood’s 1985 dystopian novel has again soared to the top of the best-seller lists. Watson called up Atwood to discuss.

Watson: You were living in West Berlin when you wrote The Handmaid’s Tale in 1984; it was before the wall came down. Was being in a divided city a big influence on the novel or had you been thinking about it before you arrived in Berlin? I’d love to know how the novel came about.

Atwood: I had been thinking about it before I’d arrived, and at that time — when I was in West Berlin—I also visited Czechoslovakia and East Germany and Poland. They weren’t revelations, because being as old as I am I knew about life behind the Iron Curtain, but it was very interesting to be right inside, to sense the atmosphere. East Germany was the most repressed, Czechoslovakia the second, and Poland was relatively wide open, which explains why Poland was where the Cold War wall first cracked. So it was very interesting to be there, but it wasn’t the primary inspiration.

Watson: What was the inspiration, if you don’t mind me asking?

Atwood: There were three inspirations. First, what right wing people were already saying in 1980. They were saying the kinds of things they’re now doing, but at that time they didn’t have the power to do them. I believe that people who say those kinds of things will do those things if and when they get power: They’re not just funning around. So that was one of the inspirations. If you’re going to make women go back into the home, how are you going to do that? If America were to become a totalitarian state, what would that state look like? What would its aims be? What sort of excuse would it use for its atrocities? Because they all have an excuse of some kind. It would not be Communism in the United States; it would have undoubtedly been some sort of religious ideology—which it now is. By the way, that’s not an “anti religion” statement. Recently, someone said, “Religion doesn’t radicalize people, people radicalize religion.” So you can use any religion as an excuse for being repressive, and you can use any religion as an excuse for resisting repression; it works both ways, as it does in the book. So that was one set of inspirations.

The second inspiration was historical. The 17^th-century foundation of America was not, “Let’s have a democracy.” It was “Let’s have a theocracy,” which was what they established in the New England states, such as Massachusetts. Harvard­—in and around which the novel is set —began as a theological seminary in the 17th century, and the Puritans excluded anybody who didn’t believe in their theology.

The third inspiration was simply my reading of speculative fiction and sci-fi, especially that of the ’30’s, ’40’s, and ’50’s, and my desire to give the form a try. Most of the ones I’d read had been written by men and had male protagonists, and I wanted to flip that and see what such a thing would look like if it were told from the point of view of a female narrator. It’s not that those earlier books didn’t have women in them, and not that women didn’t play important parts; it’s that they were not the narrators.
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