In the ethereal realm where artistry intertwines with passion, actress Aria Mia Loberti emerges as a beacon of grace and talent. Known for her captivating portrayal in All the Light We Cannot See, Loberti has become a rising star in the entertainment industry, seamlessly blending the worlds of academia and acting.
As the Independent Spirit Awards approached on February 25, Loberti, in collaboration with the esteemed fashion house Armani, embarked on a sartorial journey, curating a look that not only reflected her evolving style but also symbolized the courage that has propelled her into the limelight.
All the Light We Cannot See is based on the Pulitzer Prize-winning novel of the same name by Anthony Doerr. The novel is a historical fiction story that follows two teenagers, a blind French girl and a German orphan boy, whose paths collide during World War II.
The spellbinding series that has captured hearts globally, showcases Loberti’s prowess in bringing characters to life with depth and authenticity. Legally blind herself, the actress’ journey is a testament to the transformative power of embracing one’s passions. A departure from her academic pursuits — before acting, Loberti was working towards a PhD in ancient rhetoric and completed her Master’s degree as a Fulbright Scholar — her transition into acting has been nothing short of extraordinary.
The Independent Spirit Awards, an annual celebration of independent cinema, stands as a platform to honor the brilliance of artists who dare to challenge norms and create narratives that resonate with the soul. As Loberti stepped out at this prestigious event, the anticipation surrounding her appearance was palpable — an embodiment of the fusion between her artistic prowess and the elegance of Armani’s designs.
Intricately woven into the fabric of this narrative is the collaborative effort between Loberti and her stylist, Sarah Slutsky Tooley, who masterfully curated an ensemble that not only pays homage to her journey but also captures the essence of Armani’s vision. The fusion of vulnerability and courage, princess and warrior aesthetics, echoes the transformative arc of the 30-year-old’s career —from her first audition tape to her inaugural awards nomination and the flourishing, joyous career that now unfolds before her.
As we peel back the layers of this glamorous tapestry, GRAZIA USA invites you to join us on an exclusive journey behind the scenes. From the inspiration behind Loberti’s Independent Spirit Awards outfit to the meticulous process of crafting a look that transcends fashion and becomes a symbol of self-expression.
Join us as we unravel the threads of elegance, resilience, and celebration, woven into every detail of her preparation for the Independent Spirit Awards.
The following interview with GRAZIA USA and Aria Mia Loberti took place prior to the Independent Spirit Awards on February 25, 2024.
GRAZIA USA: Can you share with us the inspiration behind the outfit you’ll be wearing to the Independent Spirit Awards?
Aria Mia Loberti: This look was a group effort, and I’m so grateful for all of the time and care Sarah Slutsky Tooley, my stylist, and her team put into sourcing several incredible options. This black, blue, and silver Armani dress stood out to me because of its powerful silhouette. I have trained extensively as a ballerina, so the shape and structure of a garment — especially watching how fabric moves with my body in the mirror during a fitting — was really important in making my selection. I understand that this collection was inspired in part by water, and there is something both ethereal and powerful in the pairing of the sheer layered skirt with the sturdy braided chain detail in the bodice.
G: How have you and your stylist collaborated to create this specific Armani look for the Independent Spirit Awards, and what was the process like?
A: Sarah and I sought to tell a story throughout this awards season with my different looks — playing with tone and testing boundaries of toughness and femininity. Because of a fluke delivery error, we actually weren’t sure if this look — one of our dream pieces for the Spirit Awards — would arrive in time. Thankfully it did, and it was magic when I put it on. It felt right, moved so beautifully, and caught the light so uniquely.
In crafting the rest of the look, we wanted to evoke a juxtaposition between princess and warrior aesthetics. It felt like a metaphorical way to convey the vulnerability and courage I had to find in myself to send out my first ever audition tape, which led to my first role, which led to this — my first awards nomination — and now to a thriving, joyful career. For makeup, Gregory Arlt and I discussed 1920s influences and creating a glowing, almost crystalline dark blue and silver eye. For hair, I was especially inspired by favorite book characters of mine — Violet from Fourth Wing, Daenerys from Game of Thrones, and the women from Wheel of Time — whose braid hairstyles represent both prowess and practicality. Matthew Collins created this braided, wet-look updo with the slightest old Hollywood twist.
G: What are some must-have items or rituals in your getting-ready routine before an event like the Independent Spirit Awards?
A: I don’t have too many, but I will usually take a shower and make a cup of peppermint tea. I am a huge tea person and actually travel with a pouch full of my favorite types of tea bags. Also, I especially like using my favorite rose hand cream from L’Occitane en Provence, since it’s quite a soothing scent.
G: Who are your style icons and favorite designers, and how do they influence your fashion choices?
A: From when I was little, my favorite style icon has always been Audrey Hepburn. I admire her work as both an actress and an advocate. To me, she exudes grace and kindness, and her timeless style is a vehicle for communicating that gentle strength to the world.
My favorite designers — there are too many to name — are those who balance these incredible legacies with the needs and desires of modern, multifaceted women. Armani does this so beautifully, encapsulating simple elegance and stunning construction. As someone who embarked upon an acting career never having taken a single acting class, in the middle of climbing the ladder as an academic, I have to admire Giorgio Armani, who pursued a career in medicine prior to finding his love for design. Fashion would not be the same today if Armani didn’t take that leap, and I hope we can all find that spirit within us to take life by the horns and have the courage to find the thing that fuels us.
G: How would you describe your style, and how has it evolved throughout your career?
A: It used to be practical and quite academic. Along with my career path, that has completely turned on its head, I’ve found that I no longer hide myself under oversized blazers or sweaters. Instead, I take more risks and am much more comfortable being seen. This evolution is in part because of Sarah’s guidance, helping me find ways of bridging my love of vintage and period clothing with fresh, sleek, and edgy pieces that can express who I am to the world. But I also believe that through my new career, I have found myself and my happiness, which has given me more confidence to experiment and use fashion as a means of self expression.
G: How did you prepare for your role in All the Light We Cannot See?
A: Prior to coming to acting, I was working toward my PhD in ancient rhetoric, and I’d just completed my Master’s degree as a Fulbright Scholar. I expected that my academics would not inform my acting and might even be a hindrance. But now I actually do not think I’d have been able to prepare to play Marie-Laure — or succeed now as a professional actress — without having my academic career first. At its core, my research was about how words have the power to shape our current reality. And that in and of itself is the power of storytelling and of acting more specifically.
I would sit for hours and make long spreadsheets that connected book passages to lines or scenes in the script, like I was preparing for a history paper. I dove into academic libraries to read accounts of occupied France, and listened to preserved original radio recordings that my character might have listened to. I learned all I could about the invasion of Paris and the liberation of Saint Malo. And, while I was never a psychology student, I also did a lot of research into what makes us, us — what develops our tendencies and personalities — and tried to connect things in Marie-Laure’s life to sounds, songs, textures, scents, even tastes, that I could use to find her physicality and emotionality. I am also a very movement-oriented, pretty athletic person, and so I was adamant that I wanted to perform my own stunts in the series — which production was very supportive of. My intensive ballet training — as well as my training in martial arts and yoga — really helped me here.
G: Can you take us behind the scenes of a typical day on set while filming All the Light We Cannot See?
A: We worked six days a week for six months, and often I’d arrive on set at around 4:45 in the morning and wouldn’t leave until it was dark outside. Days typically started with about two hours in hair and makeup. Each cut, bruise, and smear of dirt had to be meticulously hand applied according to the show’s continuity. Then, we would head to set and block that day’s scene before filming. Often we’d have a half hour break for lunch, which I’d spend with my best friend, Molly, who actually came out to Europe with me and was hired by our production. Everyday was so different, so it is hard to give an account of an average day. The level of variation and intensity of our schedule are two of my favorite things about this career.
G: What was the most challenging aspect of bringing your character to life?
A: The most challenging part was simply being a newcomer. Every day was a first. And every day was a learning experience, since I’d never set foot on a film set before. Thankfully, I had extraordinary co-stars who embraced me. Likewise, Shawn was kind enough to allow me to shadow him for a few weeks before I began filming, so I could learn the ins and outs of the industry. It was really, truly a gift to have this type of introduction to filming and acting, and it’s served me well.
G: Share with us a memorable red carpet moment from your career and what made it special for you.
A: Netflix’s annual TUDUM event in Sao Paolo, Brazil, was my first ever red carpet. My costar, Louis Hofmann, and I got to complete some interviews together. And during one of these interviews, I caught a glimpse of Chris Hemsworth walking onto the carpet behind me. I started to fangirl and lost track of what I was saying entirely. It was a pretty funny, surreal moment.
G: What are you most excited for with today’s event?
A: I am looking forward to meeting other people in the industry and spending time celebrating with my wonderful team. It’s always exciting to get to honor other artists for their work.
