The last time Gemma Chan was in Singapore was six years ago for the Captain Marvel festival—in which she played the dynamic Minn-Erva, a Kree member of Starforce. The fan event drew crowds to Marina Bay Sands, all eager to catch a glimpse of her, Samuel L Jackson and Brie Larson on a mid February day. Just before that, she had wrapped filming Crazy Rich Asians in 2017, in which she played the elegant socialite Astrid Leong—a role that touched hearts around the world due to Astrid’s loving nature, aspirational lifestyle and impeccable, couture-clad taste. It remains one of Chan’s most career-defining performances to date.
It has now been four years since Chan last graced the cover of Vogue Singapore, for the November 2021 issue. As we speak, she is seated in the lounge at Changi Airport, preparing to board a flight to Hong Kong, having just attended one of Cartier’s most anticipated events of the year—the unveiling of the final chapter of its Nature Sauvage high jewellery collection at National Gallery Singapore. Still, she is energetic yet calm, her voice carrying a signature lilt. As she winds down from the high-octane evening, I ask her what has changed in the last four years. “A lot has changed, actually. On the work side, I started producing alongside acting, so I have many projects at different stages of development. After the pandemic, I have a deeper appreciation of time— spending it with family and loved ones. I’ve been very lucky that my nephews, who were living in Switzerland, and my sister—they’ve now moved the family back to the UK, to the place where I live, which is really, really nice.”
With roles like Astrid from Crazy Rich Asians, Minn-Erva from Captain Marvel, Sersi from Eternals and Mia from Humans under her belt, it is only a natural progression that Chan has sought other ways to tell stories. “It’s always something that I wanted to do as soon as I could,” she says of producing. “I had lots of ideas for books that I wanted to go after and write for, and stories that I wanted to tell. I enjoyed being part of the creative process in a much earlier stage, putting the whole creative team together. It’s a lot of work, but I really enjoy it.” I ask her if there are narratives she’s gravitated towards telling in particular. “They are varied, but a common theme is about people who didn’t get their due in their lifetime.”
Her latest role, as costume designer Edna in Duke Johnson’s romantic noir The Actor, strongly reflects this sentiment. Starring André Holland alongside her, it is based on Donald E Westlake’s thriller Memory. Set in 1950s America, the story follows Holland’s Paul Cole after he suffers a brutal attack to the head—the result of a scandalous affair he was having with a married woman—causing him to suffer memory loss. The film dissects themes of race, identity, politics and truth versus perspective. Johnson based the film’s style on a stop-motion animation he co-directed with Charlie Kaufman, aiming to bring that distinctive quality into a live-action format. It was this vision that intrigued Chan, who was already taken by the script.
“It’s like the transition of experiences,” Chan explains, when drawing parallels between the two films. “The sets are also painted to have false perspectives and have this otherworldly feel.” The construction of identity, it strikes me, is an interesting thing to delve into—especially given how easy it is to reinvent yourself in the world of social media. Objects are bought to paint a narrative, clothes are worn to project an image, and monologues are delivered and written to influence thought. In 2025, becoming ‘someone new’ isn’t a farfetched concept. And while the idea may carry a negative connotation, Chan views it as a chance for rebirth.
“I hope that people, when they watch the film, can go on a journey with these characters and that they feel connected to it and, like André Holland’s character in the film, they can feel like it’s never too late to be someone new,” she shares, pensively. “When I look back on my life, there have been many lives in one and various versions of myself at different times, simply because the circumstances changed so much and I was so much younger. That’s probably true for a lot of people. The idea that we can keep reinventing ourselves, and keep having to evolve and change, that’s one of the things that makes life interesting.
“The idea that we can keep reinventing ourselves; that’s one of the things that makes life interesting.”
The concept of reinvention is portrayed particularly well by Chan’s character, Edna, whom Paul finds himself falling in love with when he moves to a small town. As he grapples with figuring out who he is and piecing together elements of his past, he is compelled to come to terms with his present, within a blossoming snapshot of two young people getting to know each other.
Edna’s defining moment is her appearance in a beautifully nostalgic clown costume, which she makes herself. The vision was led by costume designer Suzie Harman, who referenced the 1950s heavily, drawing inspiration from legendary actors like Marlon Brando, specifically in On the Waterfront. “The kind of costume that Edna wears when you first meet her in the film, Suzie wanted it to look like something that she would have made herself. She had all these great Halloween references. We had a lot of fun picking out which images she might have put onto her outfit and decorating herself. It was playful and a key part of getting into the character,” she shares.
Chan’s commitment to fashion extends beyond the movie screen. A long-time advocate for Asian creatives, particularly fashion designers, she has spotlighted names like Miss Sohee and Huishan Zhang on some of the biggest red carpets in the world. It is no surprise that she is now one of Cartier’s newly minted ambassadors, alongside stars like Jisoo and Deepika Padukone.
“My relationship with Cartier came about organically. I was given a family heirloom, an old Cartier watch that wasn’t working. I took it to Cartier and they restored it for me. I also, at the same time, got to have a tour of the original workshop, which is incredible, and it’s rare that a place like that is still in its original location and still open,” she reminisces.
Her shoot for Vogue Singapore sees her wearing pieces from Cartier’s En Équilibre—French for ‘balanced’—high jewellery collection, which is described as a testament to the sophisticated simplicity of the maison, and all about “creating the right balance”—an essence that Cartier describes as the core of its innovation. “I loved the Tsagaan necklace. It’s inspired by the snow leopard. And depending on what angle you’re looking at the necklace from, the face of the leopard appears and disappears. It’s ingenious and stunning.”
This level of excellence is something Chan holds close to her heart as she embarks on a new chapter. A UNICEF ambassador since 2021, she shares plans for the Futures at Risk campaign, which aims to collaborate with the UK government to secure brighter futures for children. On the creative front, she also has a full plate. She is executive producing an Amazon series titled Rise of the Empress—an adaptation of Julie C Dao’s fantasy novels, which follow a young girl’s pursuit of greatness. She reveals that the writers’ room is currently underway, with production set to begin by the end of the year. As for the number one question she gets? If there will be a sequel to Crazy Rich Asians—to which she promises some exciting news soon, with a knowing laugh. As she goes for gold, we pause collectively to think about the essence of the word, which is the theme of Vogue Singapore’s June issue. Without hesitation, Chan shares, true to form: “Excellent and aspirational with an enduring quality of kindness.”
Photographer Peter Ash Lee
Styling Konca Aykan
Hair Neil Moodie
Make-up Akari Sugino
Manicure Michelle Class
Set design Nat Turnbull
Photographer’s assistants Kurt Lavastida, Elena Santolaya
Digitech Julius Bohlin
Stylist’s assistants Juli Molnar, Isabela Orozco
Make-up assistant Jun
Local production company Myself Production
Local director of production Julien Pegourier
Local producers Remy Nino Auriel, Dara Domingues, Mathieu Fresquet
Producer David Bay
Vogue Singapore’s June ‘Gold’ issue will be out on newsstands from 13 June and available to preorder online.
