“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
“I was looking at photos of brunettes from the ’70s, specifically Jaclyn Smith and Anjelica Huston, and I kept seeing orange makeup,” recalls Dubroff about what prompted her to reach for a vivid peach eye shadow in her kit. She brushed Chanel Illusion D’Ombre Eyeshadow in Rouge-Gorge from eyelid to brow on the 26-year-old, who was wearing a floral Alexander McQueen gown. The pop of orange against Johnson’s flawless complexion with a soft lip was an acclaimed “peaches and cream” moment. Says Johnson: “That was something new for me. Pati made me feel fresh and like I really belonged in that dress.” Dubroff, who usually accentuates the actress’ mouth (“She likes her natural lip bumped up a few shades, so I had to convince her to go softer on the lip”), veered from what worked so well earlier this year while promoting Fifty Shades of Grey. Was it worth it? Says Dubroff, “Dakota loved it, and social media went crazy over it!”