Gucci’s Alessandro Michele brings his whimsical take on luxury to the fragrance counter (and Times Square), with help from Dakota Johnson, Hari Nef, and Petra Collins. #InBloom
16 FILMS, INCLUDING FIFTY SHADES DARKER (2017).
Daughter of actors Don Johnson and Melanie Griffith, granddaughter of the chillest, most unattainable Hitchcock blonde of them all, Tippi Hedren, Dakota Johnson has pasted her own star into this Hollywood constellation. Early twinkles in Crazy in Alabama and The Social Network were the prelude to her breakout casting as the demure literary ingénue Anastasia Steele (yowza) in the screen adaptation of E. L. James’s Fifty Shades of Grey, the fiction sensation that got women worldwide thrumming. Following Fifty Shades of Grey is the forthcoming Fifty Shades Darker, and, if civilization prevails, Fifty Shades: The Wrath of Khan. It is outside the pallor and dolor of Fifty Shades that Johnson gets to strut a fuller stride, as Rebel Wilson’s avid sidekick in How to Be Single and as the sun-streaked temptress in Luca Guadagnino’s A Bigger Splash. For her next daredevil mission, Johnson will be en pointe in Guadagnino’s remake of the horror cult classic Suspiria, as a ballerina who joins a mysterioso dance academy presided over by her sub-lunar co-star from A Bigger Splash, Tilda Swinton—it doesn’t get more ooga-booga than that.
Read the full article on Vanity Fair.
“Find the girl,” Alfred Hitchcock instructed Universal Studios in 1961. He’d seen a TV commercial for Sego, a popular diet shake, featuring a blonde model. Tippi Hedren got the call on Friday, October 13, and was offered a contract before she ever saw “Hitch.” Hedren’s first film, The Birds, earned her a Golden Globe; the second, Marnie, a psychoanalytic mystery-romance with Sean Connery, swept her into Hollywood’s front ranks. It also unraveled Hitchcock’s obsession with his leading lady—Hitchcockian in itself—as he commissioned a plaster cast of her head, built her dressing room beside his studio-lot bungalow, and, worst of all, made offensive advances. Hedren rejected him. “I’ll ruin your career,” he seethed. “Do what you have to do,” she said as she left his office, slamming the door. They didn’t talk again.
Fifty-five years after that first phone call, Hedren has written a memoir, Tippi (published this month by HarperCollins), not only about Hitchcock but also about Charlie Chaplin, who directed her in A Countess from Hong Kong, and decades of work at Shambala, her sanctuary for lions, tigers, and other big cats. There are also two other women: daughter Melanie Griffith and granddaughter Dakota Johnson, shown here with “Mormor” (“grandmother” in Swedish; Hedren’s parents were Scandinavian)—the first time the trio has been photographed together for publication. “The three generations just made me think about Mom, born in 1930, and me, in the 50s, and Dakota, in the 80s,” says Griffith. “The progression of life is really beautiful.” The women are close-knit, but they don’t give one another acting advice. “No, we never even talk about it,” Hedren says with a laugh. “Isn’t that interesting?”
Source: Vanity Fair