From left: Grace Coddington, Edward Enninful and Stefano Tonchi
Marijke Koger-Dunham with John Lennon
“Freedom As Fuel: The Work of Marijke Koger-Dunham” runs through July 22 at the Sonos Studio at 145 North LaBrea Ave., Los Angeles; sonos-studio.com
Photos: courtesy of Sonos Studio
It’s about time. The succession of trailers Warner Bros. has been teasing out over the past few months have successfully fanned the flames of anticipation into a wildfire. Rarely, if ever, has there been a series of promotional trailers choreographed to re-enact—very literally—an actual striptease, culminating in a red-band clip posted online two weeks ago which is, for nearly any office environment, NSFW. In case you missed them, though, here’s a mini-retrospective:
April 18: Moments after the first trailer was posted online, Youtube comments ranging between “MMMMMMMMM” to “I want this in 3D!!!!” began to pour in. There’re some topless Step Up-era moves from Channing Tatum, but it’s all harmless—albeit titillating—good fun.
May 18: The international trailer goes online, and things start to get a little dirty. From 1:45 onward, this clip shows off intensely unadulterated stripping from all parties concerned. Many pairs of tearaway pants are—gasp!—torn away.
June 13: The one-minute red-band trailer explodes the Internet. Utterly NSFW—and probably illegal.
No longer relegated to religiously conservative nuptials or a royal affair (though Grace Kelly’s 1956 gown still seems to epitomize the look), the sleeve is making a comeback down the aisle. Thanks to Kate Middleton’s McQueen gown, Drew Barrymore’s Chanel creation, and the dresses (yes, there were two: one in white, one in blush) designed by Margherita Missoni (with a little help from Giambattista Valli) for Missoni’s own wedding last weekend, perhaps the strapless reign will draw to a close.
Below, two of our favorite dresses from the bridal runways:
From left: Monique Lhuillier Bridal Spring 2012; Carolina Herrera Bridal Spring 2013
Click here to look back at some of our favorite bridal fashion moments.
Photos: Missoni: Splash Images; Dresses: WWD
This week, the actress stars in veteran director Andre Techine’s latest movie Unforgivable set in Venice and its nearby island Sant’Erasmo. Bouquet is Judith, a real estate agent and the younger, seductive wife to Francis (Andre Dussolier), a famous French novelist whose rebellious daughter (played by Melanie Thierry) goes missing. Obsessed with finding her, he soon starts to harp on the other source of mystery in his life, namely, Judith’s rich amorous past which has him convinced she’s being unfaithful.
Bouquet, a former face of Chanel No. 5, sat down with us to discuss the pain of love, maturing as an actress and the burdens—and blessings—of winning the genetic lottery.
How would you characterize Judith’s trajectory over the course of her life and the course of the film?
I think she is, I don’t know how to say in English, une amoreuse, a lover. Her life is dedicated to love, obviously, because that’s what she’s been doing. She’s ready, she’s open to life, to accidents in life, she’s still very open which is nice because she is 50, I’m 50 in the movie. Because when you’ve been hurt…you know when you’re young you think that when you grow old you’re going to get better and that the skin is going to be thicker and you’ll get stronger. That’s exactly the other way around, by the way, that I discovered…
In fact, yes, I have bad news for you because you’re young. That’s the opposite. You become more fragile. Because yes, in fact, you had pain and that doesn’t make you stronger. When you’re young, all the accidents, all the pain you take them, but at least you’re very strong. In fact through time, it’s just adding more and more pain, more and more loss and it makes you more fragile.
Do you think Judith has felt burdened by her own physical effect on other people?
I think she didn’t like it. We could guess from the character and what Andre did and what we did together that she wanted to put that aside. Can it not be the point? And then she arrives at 50 where it shouldn’t be part of her life, it’s like, Let’s talk about something else. Of course it comes back and it comes back and it comes back. Which is normal. It’s part of her. It’s part of you.
Bouquet in Unforgivable
And what about you, personally, as an actress? You became a beauty icon in France at such a young age and later on the face of Chanel No. 5. As you’ve matured do you find it’s been easier to leave that aspect behind?
It’s like a jigsaw, there’s a piece of the puzzle at the beginning and it’s the only one and of course it had a lot to do with the way you look. And then you have to have the time to add pieces of the jigsaw. And I was lucky enough to be able to do comedies, dramas, completely different parts. At the beginning when you start you have a fantasy that you could be somebody else. Which is absurd. That’s part of being an actor. It’s your voice, it’s the way you move, it’s your body, even if you transform it, you play with it. And you play with something that already exists. You can’t completely erase it. And that would be stupid, by the way. After a while, you have to understand it’s even better if you use it. So now, yes, anyway I have no choice anymore I’m 54. I love that English expression, Been there, done that.
On a totally embarrassing personal note, I grew up with my mother telling me since I was about seven years old that you were the most beautiful actress in the world. Not in anyway to diminish your acting ability!
When I was younger, I wouldn’t take that as a compliment. Now that I’m 54, I really love when people say that. Not that I take it for granted, it’s just very pleasant. It’s like a gift whoever gave it to me, besides my genes and now I love it when people say, God you’re beautiful. I say, Great! Keeps on going a little bit (knocks the wooden table). So thanks to your mom. Tell her I thank her a lot.
Bouquet: Getty Images
Tom Robbins’ Jitterbug Perfume takes the reader on a fantastical journey through time and space. Just in case the object of your affections isn’t getting the hint, though, try highlighting, dog-earing and memorizing this line: “The highest function of love is that it makes the loved one a unique and irreplaceable being.” Still not coming through? Spell it out in magnetic poetry.
THE MUSIC LOVER
Steer clear of the admittedly fantastic Please Kill Me by Legs McNeil—it’s old news to music fanatics—and tuck a copy of Clinton Heylin’s From The Velvets to the Voidoids, which covers similar territory, under your arm. In case you need a crash course on all things cool and unknown, read Lester Bang’s Psychotic Reactions and Carburetor Dung, which is both a great way to find out about some fantastic overlooked music and the potential instigation for a heated argument about punk rock vs. garage rock. Be prepared for fireworks.
Clockwise from top: No Cheering In The Press Box, Please Kill Me and The Secret of Evil
You know the type: scruffy face, vintage clothes, rides a fixie. Yeah, that dude. Never apologize, never explain, as they say: Just get him to talk to you with Roberto Bolaño’s The Secret of Evil, which collects the various short pieces this passionate Latin American writer was working on before his death in 2003. Be prepared for your amante to argue that The Savage Detectives was Bolaño’s best work; discuss over cheap rioja.
THE SPORTS GUY
Pick up No Cheering In The Press Box, edited by Jerome Holtzman—it’s the holy grail of sports journalism. You don’t even have to read the thing—its mere presence in your bag, back pocket, or virtually anywhere else should be enough to score you box seats for two for the next big game—at which point we suggest throwing out the rulebook.
Nearly a Woman, 2012
Eve's Kingdom, 2009
Learning a Lesson, 2009
Images courtesy Catherine Edelman Gallery, Chicago
Superga 2750 Cotu Flag Sneaker, $300 at Superga, 78 Crosby Street, New York, 212.625.8290