Kristen Stewart’s Daring Fashion Statement and Directorial Debut
Kristen Stewart made a bold fashion statement at the SCAD Savannah Film Festival on October 31, showcasing her mastery of the “naked dress” trend. The 35-year-old actress turned heads in a white lacy, predominantly sheer frock that revealed her white bra and black lace panties underneath. Completing her striking ensemble with black pumps and layered silver choker necklaces, Stewart wore her jet-black hair in a stylishly messy updo with fringe bangs. This appearance wasn’t just about fashion, however, as Stewart attended the prestigious festival to accept the Rising Star Director award for her directorial debut film, “The Chronology of Water,” which is set to premiere this December. Her bold fashion choice seemed to mirror the fearless approach she’s taking in her transition from acclaimed actress to promising director.
During her acceptance speech, Stewart revealed a vulnerable side, admitting how rare it is “to feel better once you get on this stage.” She described her film as “a confessional diaristic piece” that is simultaneously serious and “exuberant” in its honesty. Her genuine emotion showed through as she expressed gratitude for the opportunity to be honored for work that truly matters to her, emphasizing the importance of human connection and artistic expression. “There’s not a place that I would prefer to be honored for the stuff that means everything to me, which is being together and reaching toward each other,” she shared with the audience. This heartfelt sentiment suggests that Stewart views filmmaking not just as a creative endeavor but as a deeply personal way to connect with others.
Stewart also took time to acknowledge her sound department with particular warmth, offering a glimpse into her directorial style. “I was so desirous of being able to watch this movie with a blindfold on, and I tortured these people,” she quipped with affection. “I think they liked it, and we’re going to do it again and again and again.” Her playful comment about being “in love” with her sound team and considering them family speaks volumes about her collaborative approach to filmmaking. Stewart emphasized that making a movie is fundamentally “an act of love” rather than a commercial venture. “We’re not selling anything here. We’re showing ourselves, and what an absolute blessing to be able to do that,” she stated, highlighting her commitment to authentic storytelling over commercial success.
“The Chronology of Water” represents a bold artistic choice for Stewart’s directorial debut, adapting Lidia Yuknavitch’s challenging 2011 memoir about a swimmer-turned-artist’s sexual journey. In a May 2024 interview with Porter magazine, Stewart described her film with characteristic frankness: “My movie is about incest and periods and a woman violently repossessing her voice and body, and it is, at times, hard to watch… but it’s gonna be a f***ing thrill ride.” Her candid assessment of the film’s difficult subject matter, coupled with her assertion that such content can be “commercial,” reveals Stewart’s confidence in audiences’ appetite for meaningful, if challenging, stories. She acknowledged her uncertainty about mainstream appeal while maintaining her artistic conviction: “I think people would want to see that, but then… I think maybe people wanna watch movies about, like, Jesus and dogs.” This wry observation highlights the tension between artistic integrity and commercial viability that many independent filmmakers face.
Stewart’s decision to shoot her film in Latvia rather than the United States offers insight into her deliberate approach to filmmaking. She explained that Latvia has “a fledgling film culture” that provided the “radical detachment” she needed for her directorial debut. “I am not a director yet. I need to make a student film. I can’t do that here,” she told Porter, suggesting that the established American film industry might have imposed constraints on her creative process. Her comments about the limitations of “checking little boxes” to “do away with the patriarchy” indicate a deeper frustration with systemic issues in Hollywood. Stewart seems to recognize that meaningful change in the industry requires more than token gestures, and her choice to work outside the system demonstrates her commitment to authentic creative expression over industry expectations.
Throughout her discussion of this new career chapter, Stewart displays remarkable self-awareness about her position as a novice director despite her extensive acting experience. “If we’re congratulating each other for broadening perspective, when we haven’t really done enough, then we stop broadening,” she noted, showing a reluctance to rest on her laurels or accept premature praise. Her reflection on the evolution of her career priorities reveals significant personal growth: “As an actor, I’m called upon to serve other people’s visions. You get greedy. It feels good to be called upon… even if you don’t love the thing.” Stewart acknowledged that with maturity, her focus has shifted toward “result-oriented goals” rather than immediate gratification, suggesting that directing represents a more fulfilling creative outlet than acting alone. This thoughtful perspective on her artistic journey indicates that Stewart is approaching her directorial career not as a celebrity vanity project but as a genuine artistic calling that demands both humility and courage.
