This month's Elle is the magazine's very first social media-focused issue, and they've tapped Anna Kendrick, who we'd say is a pretty solid choice. She's got over 2.5 million Twitter followers and an Instagram army about 1.4 million strong.
Elle has published a preview of the article, much of which talks about Kendrick's perceived "hotness." Yup, an accomplished lady, Oscar nominee and Billboard Hot 100 chart topper once again has to talk about how sexy she is to men. SMH:
"This lack of ego, coupled with the stealth hourglass shape, the porcelain skin, and the smart mouth, add up to a very specific kind of sex appeal. Kendrick, who hasn't publicly dated since she and Edgar Wright broke up last year, says she hasn't been hit on since Up in the Air, 'honest to God.' For the 5 million-plus people who have YouTubed her Newcastle Brown Ale Super Bowl ad, this will be hard to buy. In it, the actress is simultaneously sexy and hilarious, twirling her movie-star hair and deadpanning that she's 'approachable hot, like the-hottest-girl-in-your-improv-class-hot.' [@RyBrockington: “Breaking News: I can indeed confirm that @AnnaKendrick47 was the hottest girl in my improv class.”] 'I’ve never felt like I’ve exactly traded on my looks,' the actress says matter-of-factly. 'When I was a teenager, I was an ultralate bloomer, and my mom would say it was a blessing, because it means you never have to wonder if guys are only interested in you because you’ve got boobs. I would have been thrilled if guys were interested in me because of my boobs!' But maybe it's for the best. 'Similarly, I think I’m lucky that I’ve never had a crisis about whether the only reason I’m successful is because I’m crazy hot. It’s not something that crosses my mind.'"
What a coincidence – it hadn't crossed our minds either.
The Fault In Our Stars actress Shailene Woodley is Vanity Fair's latest cover subject. The 22-year-old actress poses for the magazine's July 2014 issue, photographed by Miguel Reveriego with slicked-back hair and a face full of makeup, Woodley strikes a pose while sitting on some stairs and looking every inch the Hollywood star.
IMAGE CREDIT: FACEBOOK.COM/VANITYFAIR VIA TFS FORUMS
Members of theFashionSpot forums aren't so confident that Vanity Fair has done Shailene justice. "I don't know what is it about her, but I don't think I've ever seen her do a good cover yet," commented tigerrouge.
"Ugh. They, like so many other magazines before them, have aged her and completely taken away her natural beauty," wrote HeatherAnne.
Jmrmartinho seemed disappointed Shailene had even scored the cover: "The most annoying actress of the year promoting the most annoying movie of the year. And the cover isn´t any good."
"Couldn't agree more. She does nothing for me. I've seen the commercial for that stupid movie a hundred or more times. I can't stand it," replied MissMagAddict.
"That's too bad they over styled and photoshopped her cover. She has such a pretty face and a nice simple shot would have been ideal," posted justaguy, who was yet another unsatisfied forum member.
Loladonna suggested a different approach and wrote, "Shailene looks best when shot in a more natural way that suits her personality. I don't know why they keep trying to glam her up with slick hair and red lips."
Are you a fan of this? Check out the thread and join the discussion here.
Since he was ousted as creative director at Christian Dior for making drunken anti-Semitic statements outside a Paris cafe, John Galliano has been laying low in terms of talking to the press. Last spring, for the first time since he was fired from Dior, Galliano finally broke his silence on the incident, his drug addiction and continued recovery in interviews with Charlie Rose and Vanity Fair magazine He's kept pretty mum since then, immersing himself in projects for Oscar de la Renta, and now as creative director of L'Etoile. Finally the designer is opening up again to the weekly Le Point and French psychologist Boris Cyrulnik on what he's learned post-"I love Hitler"-gate. Galliano actually approached Le Point for the interview, which the designer considers as part of his overall recovery.
In the sit-down, Galliano is reflective and thoughtful, looking on the incident as a point of growth. “I’ve lost, but I also gained a lot. I’m a creative person, and no one can take that away from me. I’ve been told I committed professional suicide because it was the only escape from the terrible pressures I was facing. What do you think?” he said in response when asked if the thought he was punished too severely for his actions. Cyrulnik responded, pointing out that suicidal thoughts are not often a desire to die, but rather to wake up into another, better life. His suggestion to Galliano for managing the stress? Find a better work/life balance.
Galliano also talks about his childhood, and how being teased about his sexual orientation in school caused him to turn to hard substances. "What happened in the Parisian cafe La Perle was a defence mechanism," he said. "I repeated a pattern that I had known as a teenager and I was in an explosive mix of drugs and alcohol. February 24, 2011 I was no longer myself. I said the most terrible, the most unbearable, the most horrible thing [there is]." The workload at Dior also caused him a great deal of stress, having to come up with collection after collection for the many seasons Dior churns out. “After every creative high, I would crash and the drink would help me to escape,” he told a packed courtroom during the seven-hour hearing. “I started to have panic attacks and anxiety attacks, and I couldn’t go to work without taking Valium. My body was becoming so used to the pills, so my intake increased to an amount where I can’t actually remember how many I was taking. Sometimes I was taking sleeping pills during the day.”
This is nothing new. Galliano has been pretty open about his substance abuse and how it was largely a part of his downfall. But hopefully with this new job, and very public therapy session, the designer can continue to find the strength to move on and get better.
[via The Independent]
I really hope you came with the crumpets because New York Magazine's about to give us the tea on Terry Richardson's sexual assault allegations. A source tells Jezebel that the next issue of the title will include a one-on-one with the photographer by Ben Wallace-Wells, in which he'll address the claims of sexual assault that have been plaguing him for the latter part of his career. And according to the tipster, the piece pretty much clears Richardson of all guilt. "He has convinced the editors that he is innocent. The girls have no idea that they are going to be the losers."
Now, this could simply be the opinion of Jezebel's source. Several women have come forward over the last four years with tales of how Richardson went too far. While one accusation is enough to raise a few eyebrows, the fact is that there have been more than several accounts not only from victims, but also from staff members on various shoots. Richardson still denies any misconduct, but his explanations for some of his more questionable behavior is always met with a firm "they were consenting adults"-style response.
I guess we'll just have to see what Uncle Terry has to say for himself.
Image: Abercrombie & Fitch
Watching the decline of Abercrombie & Fitch is like watching the rich, popular kids in school slowly lose their clout. The retailer's been in a lot of trouble these days as the brand continues to flail. Abercrombie, once the preferred label of all the cool kids in high school, has fallen from glory. The retailer is scrambling now to reorganize and rebrand, so it might enjoy the prosperity it did back in the early aughts. Since 2010, it's shuttered about 220 stores in the U.S., with plans to close 60 to 70 more this year. While it seems to be doing just fine in Asia, the U.S. market is far too lucrative for the brand to let it go.
Abercrombie has already resolved to make clothes in larger sizes, is eliminating the low lighting and strong perfume spray in stores and is even planning to add black merchandise to its offerings. But perhaps the biggest change it's made is in the brand description, which has now been modified to seem a little less…snooty.
Before this latest update, Abercrombie's brand statement said the label was "rooted in East Coast traditions and Ivy League heritage," as the symbol of "privilege and casual luxury." Similar wording was used for abercrombie kids, which it is now calling a&f kids, describing the label as "the essence of privilege and prestigious East Coast prep schools." The verbiage has been modified to sound more inclusive, doing away almost completely with the elitist angle. Now, Abercrombie is "the essence of laidback sophistication with an element of simplicity," which "sets the standard for great taste." A&f kids is less about pedigree, now focused on "the essence of fun and friendship, a&f kids celebrates each moment by sharing its effortless great taste with the world." Hollister's wording remains mostly unchanged.
The Abercrombie company's long been due for a makeover, and now that the brand is trying to do away with the image that helped it gain popularity a decade ago, it looks like they're going to have to bring the very people they deemed rejects, in this case, plus-sizes and public school kids, into the fold.
Image: Nick Knight for Diesel
For Diesel's Pre-Fall 2014 campaign, designer Nicola Formichetti tapped his frequent collaborator, photographer Nick Knight, to create "a pop amalgam of the classical, the digital and the real." The duo pulled inspiration from the history of art — from painters like Titian and Tiepolo and photographers like Richard Avedon and Diane Arbus — to create the images below, which are suffused in ethereal light, like so many classical paintings. The digital influence is also evident in the splintered effects and the hyper-Photoshopped quality of the photos.
Image: Nick Knight for Diesel
Related: Nick Knight on Photoshopping in Magazines: ‘If You Want Reality, Look Out of the Window’