“I hope I’ve done something interesting for her,” Elizabeth Debicki, one of British Vogue’s four December cover stars, tells GilesHattersley. “That’s the ultimate goal.”
How were the fittings? “Lengthy. It’s a complex dress. I let the fittings happen around me while I thought about what the dress meant. Why this dress? She’d had it for two or three years. It was super risqué at the time.” And? “She was claiming the space. The way she walked out of that car, the luminosity, the strength of her as that car door opened, she was so fast and so forward. It’s an extraordinary thing to watch.
Viewers’ first sighting of Debicki as Diana is a wower. Arriving for a “second honeymoon” on a yacht in Italy at the dawn of the ’90s, the physicality is so spot on, the voice – which she spent months honing over video calls with her coach – so exact, it actually takes a moment to compute it all: a shimmering, near-hologram of Diana herself. The dropped chin, the flicky wave to the adoring crowds, the eyes – it’s all there. The hair comes thick and fast too.
Perhaps Debicki was always destined to have her Diana moment. “Why am I always playing a sad, lonely, wealthy lady on a boat?” she says at one point, deadpan. Yet it is inarguable. Whether in, the hit John Le Carré television adaptation, in which she whizzed around Majorca playing girlfriend to Hugh Laurie’s arms dealer, or on a superyacht with cruel billionaire Kenneth Branagh in Christopher Nolan’s, “I’ve cornered the market,” she says. “I’ve no idea how.
I suppose she looks the part. It’s fabulous just watching her talk: at six-foot-three, even when she’s telling you about the neighbourhood cat she’s taken to secretly feeding, her gestures are captivating. As Diana, it is in the rare moments of ebullience she is perhaps most fun to watch. Lord knows there are tears, though.
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