The acting legend opens up to L&rsquo;OFFICIEL about the significance of her latest fashion shoot, sharing some A-list Hollywood tales along the way.

Sharon Stone is in a great mood. &ldquo;Terrific,&rdquo; actually, she says. As the star of Italian luxury label <a href="https://antoniomarras.com/">Antonio Marras</a>&rsquo;s Fall/Winter 2025 campaign, the 67-year-old actor, model, and painter couldn&rsquo;t be happier to sit back and chat about all things fashion. So, that&rsquo;s exactly what we proceed to do for the next 30 minutes over Zoom, starting with her rave review of the Marras designs that she wore for the photo shoot in Alghero, on the coast of Sardinia. &ldquo;Antonio&rsquo;s pieces are beautiful, and the fabrication is extraordinary,&rdquo; she tells L&rsquo;OFFICIEL. &ldquo;And the clothes&hellip;they fit, you know? It's not like you're putting them on and thinking, Who will ever be able to wear these? I&rsquo;m not a teenager on the runway, but I was wearing runway samples.&rdquo;
She loved the looks so much, she even took a few home. &ldquo;I&rsquo;m wearing these pieces over and over, and they&rsquo;re my favorite things that I have,&rdquo; she says, heading into her closet to show off the outfits she kept. There&rsquo;s a &ldquo;fantastic&rdquo; dress that she wears in the campaign video, still in her suitcase following a recent New York press blitz for her new film, Nobody 2; a yellow trench coat; a tuxedo jacket with floral ruffles; and an ivory jacket with matching cargo pants, an outfit that&rsquo;s become one of her go-tos. &ldquo;You can wear this with a gold high heel or tennis shoes, and just go,&rdquo; she says, modeling the outerwear while holding the bottoms up in front of her full-length mirror. &ldquo;I wear these pants on the plane when I travel. They&rsquo;re cool but also sturdy.&rdquo;
It&rsquo;s clear that working with Marras is more than just an average modeling gig for Stone: It&rsquo;s a way to meld her love of fashion with her passion for craftsmanship and the arts. The new campaign was inspired by the La Bella di Alghero opera, and the designer himself is also an artist. For him, tapping Stone to star in the campaign was a no-brainer. &ldquo;The Antonio Marras woman is not afraid to stand out, and she doesn&rsquo;t conform or follow trends,&rdquo; he tells L&rsquo;OFFICIEL. &ldquo;She thinks, feels, and creates, and Sharon perfectly embodies this spirit. She has charisma, sensitivity, and an expressive power that goes beyond the image. With her, everything comes to life in a natural way.&rdquo;

The pair first met when Stone wore a Marras creation to the Taormina Film Festival in 2024. They instantly hit it off. &ldquo;Inviting others into our imagination&mdash;shaped by fashion, art, and cinema&mdash;created a natural bond,&rdquo; says Marras. &ldquo;Sharon is a diva, a contemporary icon. I couldn&rsquo;t remain unaffected by her allure; she hypnotizes and seems to come from another planet.&rdquo; The designer, &ldquo;a passionate cinephile,&rdquo; was also a longtime fan. &ldquo;How could I ever forget Sharon Stone as Ginger in Casino?&rdquo; he asks. &ldquo;A director at heart,&rdquo; he jumped at the chance to have her in front of his camera at the shoot.
The campaign itself is rooted in romance, with Stone shown waiting for her long-lost love (portrayed by model Gabriel Aubrey) to return. It&rsquo;s a noted departure from her most famous roles in films like Casino, Basic Instinct, and Total Recall, where she&rsquo;s often the one in control (she again takes on the role of villain in Nobody 2, in theaters now). &ldquo;This is why I think Antonio and I have a special relationship,&rdquo; she says. &ldquo;Because he saw me as a person&mdash;as a woman, and as a very feminine woman. He understood that this piece had been missing from my life, and that people don't stop and see me. He stopped and saw me, and I&rsquo;m just really grateful that a man in the world noticed.&rdquo; Stone didn&rsquo;t even have to channel a character of any kind on set. &ldquo;I allowed myself to be present and to demonstrate the very fact of being a woman who's alone, who longs for someone to love her,&rdquo; she says. &ldquo;And who doesn't long for someone to love? I mean, get real.&rdquo;
In the conversation below, Stone opens up to L&rsquo;OFFICIEL about accepting the realities of fame, paying it forward in Hollywood, and being called a diva.&nbsp;

L&rsquo;OFFICIEL: What was it like to shoot this campaign in Italy?&nbsp;
SHARON STONE: Well, other than having to look at Gabriel all day&hellip;[laughs]. It was great. Gabriel and I are actually really good friends. He's an artist as well&mdash;a painter&mdash;and we get to work on a lot of things together, so it&rsquo;s fun. And working with Antonio is a dream. He's a beautiful artisan, his pottery is beautiful, his studio is beautiful. His son, who runs the company with him, is amazing. To see the ladies are at their sewing machines, you're just in it when you're there.&nbsp;
L&rsquo;O: In true Antonio Marras fashion, these pieces blend the masculine and feminine. How do you view them?
SS: I find them quite feminine, actually. They all have flowers&mdash;even the fabric of the upholstery-like suit is floral, and the tuxedo jacket has roses coming down its side. The suits may be structured, but they're structured more like a Japanese kimono than like a man's suit.&nbsp;
L&rsquo;O: Do you think of them as power suits, then?
SS: Well, they're powerful, but they're not powered in a white male-dominant world. They're powered more in cultures where, in an agrarian sense, the male is not machismo or wearing a tie. The cut of these suits demonstrates power in another way that&rsquo;s more genteel and egalitarian. They&rsquo;re a gender-free power suit. Gabriel and I, for example, would wear the exact same cut of suit in these commercials.&nbsp;

L&rsquo;O: Is there an outfit that you feel most confident wearing? And has that changed for you over time?&nbsp;
SS: Well, I don't really get my confidence from my clothes. What is most important to me, though, is that my shoes fit. That's not always easy, because when you wear a designer, they often like you to wear their shoes&mdash;and not every designer's shoes are comfortable, even if they&rsquo;re beautiful. From modeling, I can wear a pair of shoes that are too small, or three sizes too big, and I can still shut up and do my job. But as a woman, and especially as a woman my age, I really prefer a shoe that I can actually walk in. And I'm at the point where I'm really sick of my heels. [laughs] I love that Antonio&rsquo;s shoes have a lot of support. That sort of thing really helps you carry a garment in a way that looks effortless. Because it&rsquo;s a lot of effort to carry a dress that weighs 35 or 40 pounds, in the third hour, on your tiptoes. So when a designer&rsquo;s shoes are comfortable, it says, I get that you're hauling a really heavy piece of fashion.&nbsp;
L&rsquo;O: How do you think your style has evolved throughout your career?&nbsp;
SS: At one point, I disciplined myself and threw out my ugly clothes&mdash;even if they were really some of my things I liked. Because I was like, Girl, you&rsquo;ve gotta be more grateful for the very fact that people like to take your picture, and that's what pays the rent. So knock it off. Then, when people would give me things to wear that were incredibly comfortable, I would say, You&rsquo;ve got to let me keep this; I'll wear it all the time, everywhere, and you'll get a lot of PR. But I&rsquo;ve got to have some comfortable things that I can wear to the supermarket. I got to a point in my life where I couldn't have the &ldquo;me&rdquo; clothes and the &ldquo;Sharon Stone&rdquo; clothes separate anymore. There was no more separation.

Photo courtesy of Antonio Marras.

L&rsquo;O: Speaking of public perception, has your own relationship with being seen on film or in campaigns changed over time?
SS: Well, there was a certain point where I obviously recognized that, if I left the house, there was never going to be a moment where I wasn't separate and where it had consumed my entire world. So then I stopped going out. [laughs] I had to accept the harsh reality of that, which, that's a bitter pill. A lot of people stay bitter, and I just didn't want to be that.&nbsp;
L&rsquo;O: There&rsquo;s a strong link between fashion and art in the Antonio Marras campaign. As an artist yourself, when do you feel most creative?&nbsp;
SS: It's really weird because I haven't painted for about two and a half weeks, which is probably the longest that I&rsquo;ve gone since I began painting again. I've been so busy traveling and opening this film [Nobody 2], and yet, I'm probably doing more for my painting career right now. I'm doing a lot of laying around and staring into space, and I think that's when I feel the most creative. I read this article about [English artist] Damien Hirst about how he sleeps all the time and is always just laying on the couch with his dog. I thought, I'm sure that's why he is so fucking creative. That half-sleep state is the most creative thing. That's where it's really at.&nbsp;

L&rsquo;O: Antonio also continues to refer to you as a diva, which I love.&nbsp;
SS: [laughs] Italians are the only people that know what that means. People in America think that means you're, like, an obnoxious cunt. They don't know that a diva is an opera star&mdash;it's a person who can hit the high notes and fucking hold it. It would have made me feel bad to have another person say it, but from an Italian, it's the greatest thing.&nbsp;
I remember when I had won the Golden Globe [for Casino, in 1996] and was nominated for the Oscar. I was at a very tony party in New York. [Filmmaker] Francis [Ford] Coppola came up to me and said, I need to speak to you privately. He took me over to a window, put his hand on my shoulder, and said, You're not gonna win the Oscar. I said, What? And he said, We need to let you know, because we don't want you to find out in the room. I didn't win for [directing] The Godfather, Marty [Martin Scorsese] didn't win for [directing] Raging Bull, and you're not going to win for Casino. I said, Okay, why? And he said, Because they can't hear opera. But when you lose, we'll be right in there, losing with you. And we want you to know we're going to be sitting in the room, you're not going to be alone.
L&rsquo;O: I mean, that&rsquo;s an incredible story.&nbsp;&nbsp;
SS: That's what it is to be a diva. Marty's a diva, Francis is a diva. And they came and told me, You're a diva too, and you're not alone, and it's okay. I didn't know what a diva was until then. I thought it was mean when people said that, and they were slapping you in the face because you'd been arrogant or difficult. But when you're a diva, it really means you hit the goddamn high note and you sustained it. So when Antonio Marras says that I'm a true diva, that is the greatest thing ever. It's about something deep in Italian culture, and it means that you're holding a standard of excellence that other people are not going to understand, and they're not always going to treat you well because of it. And that's okay.&nbsp;

L&rsquo;O: How does it feel to navigate Hollywood now, compared to when you were first starting out? Is there anything you wish you had known?&nbsp;
SS: I was really graced by meeting extraordinary people and having them put in front of me. I mean, from Faye Dunaway&mdash;who people are never going to understand&mdash;to Dyan Cannon and Angie Dickinson, Shirley MacLaine, Mel Torm&eacute;, and Phyllis Diller. Rock Hudson and James Earl Jones. Anthony Hopkins and Malcolm McDowell. All of these people that were moving towards the end of their careers&mdash;huge, huge stars of their era&mdash;and they all took me under their wings and told me what to do. They taught me how to act. They told me how to behave in public. They just championed me.
L&rsquo;O: How so?
SS: The greatest actors saw my work in Basic Instinct and got me into the Academy. People took me aside and were like, It doesn't matter that people don't get you. We get you. We understand what's happening here, and you need to, too. So you need to act like this and be like that. And so I would reach out to other people. I reached out to George Clooney when he made his movie [One Fine Day, 1996] with Michelle Pfeiffer. I was like, Here's what you need to do, because this is gonna happen for you. It doesn't look like it is, but it's gonna. You have to keep paying it forward, because these people did it for me.&nbsp;
It's an incredibly confusing time, and I didn't have the right agents or the right this and that. I was nobody from nowhere, and things were happening. I was being sued, I was in mediation with a studio. And I had the biggest directors in the business call me and go, Here's the thing. You're an Irish kid&mdash;you're not from here and you're not Hollywood royalty. This is what&rsquo;s going to happen. You need to behave like this, but take your hands off the wheel and let the car drive itself off the highway. It&rsquo;s gonna look like this, but it&rsquo;s gonna be like that. I mean, I had people call me that you'd be shocked to hear. They'd go, I was also a kid from nowhere. I got a lot of help from a lot of people that would say, I never spoke to her. [laughs] And that's what I try to do, too.&nbsp;

L&rsquo;O: How do you pay it forward in that sense?
SS: I try to tell people, Let me help you. Let me tell you how to set yourself up financially. Sometimes people think, I think she's crazy or I think she's hitting on me. No, I'm trying to show you what&rsquo;s happening and help you not get robbed. I've even had people think, Oh, she's a horror. I never want to work with her again. All because I'm trying to keep them from falling into a meat grinder. But there are so many good people in this business, and they will run in front of you and grab the ball before it hits you in the face and then go, You never met me. There are really lots of good people around.&nbsp;
L&rsquo;O: That&rsquo;s what&rsquo;s important.
SS: That's what I think our whole country should be doing right now: silently running in front of people, catching the ball, and saying, You never met me. And doing all the good things they could possibly do right now.

Sharon Stone Gets Real About Longing for Love in New Antonio Marras Campaign

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