The Heart Truth campaign has seen the Coca-Cola Company create newly designed packaging for Diet Coke to commemorate the soft drink manufacturer’s fifth-year support of the National Heart, Lung, and Blood Institute’s (NHLBI) campaign, to promote heart disease awareness. Diet Coke has also participated in numerous awareness-raising programmes to aid the campaign over the last few months. Lucire has covered many of the Heart Truth’s Red Dress shows since their inception in 2002, and the latest, for fall 2012, will see five Diet Coke fans join the celebrity models on February 8.
Diet Coke ambassador Minka Kelly (above) will be on the catwalk this week in a custom Diane von Furstenberg red dress.
Fans had showed their support on Twitter, Tumblr and Instagram, hashtagging photographs of themselves with #ShowYourHeart. The five best photographs were selected, and Kelly chose one grand prize winner—who got a shopping spree with a style expert—from them.
Extending the Twitter campaign, Coca-Cola will donate $1 to the Foundation for the National Institutes of Health (FNIH) for every re-Tweet of the Diet Coke Heart Truth post on February 8, with an upper limit of $100,000.
Coca-Cola will release a special Diet Coke package for February featuring a promotional graphic (left), while over 6,000 million packages will feature the Heart Truth logo through the year.
Von Furstenberg has also created a limited-edition collection of Diet Coke aluminium bottles, featuring her prints, for sale at her stores and at dvf.com through February. Proceeds go to the FNIH, in support of the Heart Truth and women’s heart health research and educational programmes.
Diet Coke will also promote heart health programmes with Subway, which will donate $50,000 toward heart health research and educational programmes. Subway will donate up to an additional $50,000, for every photograph uploaded to Twitter with the hashtag #SubwayHeartTruth.
The première of Madonna’s new single ‘Give Me All Your Luvin’’ in Piccadilly Circus did not go particularly well: not only was the video late, but it ran without sound.
The music video, which features Nicki Minaj and MIA in cheerleaders’ outfits, was directed by Megaforce. It makes references to a lot of Madonna’s past work and is meant to be tongue in cheek.
Despite the malfunction in London, fans were generally very positive toward the new video when it hit the internet.
Less contentious is the news that Back to the Future might head to Broadway. Broadway has, in recent years, been very kind to film-to-stage adaptations, including The Producers and Xanadu, which arguably did better there than in the cinemas in 1980.
Writer–director Robert Zemeckis is in negotiations to pen a new script for the stage, according to ITN.
The first official image from Skyfall, the 23rd Eon Productions James Bond picture, has been released on the movie’s website at 007.com.
The photograph sees Daniel Craig as James Bond, in a scene set in Shanghai.
The film sees Craig joined by Javier Bardem, Dame Judi Dench, Naomie Harris, Bérénice Marlohe, Ben Chaplin, Albert Finney, and Ralph Fiennes. Sam Mendes directs.
The plot is a closely guarded secret, but the official statement from Sony, released in January, read: ‘In Skyfall, Bond’s loyalty to M is tested as her past comes back to haunt her. As MI6 comes under attack, 007 must track down and destroy the threat, no matter how personal the cost.’
Regular scriptwriters Neal Purvis and Robert Wade, with Gladiator’s John Logan, penned the script, which has no connection to an Ian Fleming novel.
The James Bond films celebrate their 50th anniversary this year. In 1962, Dr No, the first big-screen Bond movie, was released, starring Sean Connery, Ursula Andress and Joseph Wiseman. Skyfall will be released October 26 in the UK and Éire, and November 9 in North America.
Keira Knightley’s question: do the British like spanking?
We already mentioned the sado-masochistic scenes in her new movie, A Dangerous Method, back in October. According to the actress, spanking was never mentioned after the original première, and only slightly at the Toronto Film Festival. But, now with A Dangerous Method having a gala première in London at the Mayfair Hotel yesterday, it’s being brought up regularly.
‘In England it’s got mentioned all the time. I don’t know what that says about us! We obviously like spanking, I don’t know!’ she said.
The period drama, directed by David Cronenberg and based on the book A Most Dangerous Method by John Kerr and a stage adaptation by Christopher Hampton (who also penned the script), deals with the birth of psychoanalysis and stars Viggo Mortensen as Sigmund Freud, with Vincent Cassel as Otto Gross.
Knightley wore Burberry to the première, accessorized by jewellery from Chanel, and Christian Louboutin heels.
Above Elizabeth Olsen, on the cover of ASOS magazine, wears a MiH Aztec jacket, and an Elizabeth & James striped silk Ella blouse. She wears an ASOS long-sleeve Breton top inside.
ASOS—once better known as As Seen on Screen—has continued to grow in profile. Its latest magazine features actress Elizabeth Olsen on its cover, photographed by Todd Cole at the Brooklyn Botanic Garden in New York, reportedly one of her favourite spots in the city.
She is the younger sister of Mary-Kate and Ashley Olsen, and was one of the break-out stars at the Sundance Film Festival 2011 for thriller Martha Marcy May Marlene, about a woman who chooses to leave a cult.
Her new film, Red Lights, with Robert de Niro and Sigourney Weaver, débuts at this year’s Sundance, while Liberal Arts, with Zac Efron, was released this week. Her horror film Silent House opens March 9.
ASOS has 18·5 million unique visitors per month, 7 million registered users, and 4 million active customers, according to its own data.
Top Octavia Spencer and Viola Davis—Best Actress in a Supporting Role and Best Actress in a Leading Role—at the 18th Annual Screen Actors Guild Awards. Above Mary Tyler Moore receives a lifetime achievement award from former co-star Dick van Dyke.
The Screen Actors’ Guild (SAG) Awards are often looked to, in order to figure out which film and which actors take out the top awards at the Oscars.
If this year’s ceremony in Los Angeles is any indication, it will be civil rights’ drama The Help, which has won best cast, best actress for Viola Davis, and best supporting actress for Octavia Spencer.
In accepting the ensemble award (above), Davis inspired the audience with her speech. ‘I just have to say that the stain of racism and sexism is not just for people of colour or women. It’s all of our burden, all of us … I don’t care how ordinary you feel, all of us can inspire change, every single one of us,’ she said. The Artist did not do as well, though star Jean Dujardin picked up the best actor prize.
Christopher Plummer won best supporting actor for Beginners.
Among the TV prizes, Paul Giamatti won best actor in a TV film or miniseries for Too Big to Fail, which covered the 2008 financial crisis. As at the Golden Globes, Kate Winslet won best actress for Mildred Pierce. Boardwalk Empire won the TV drama ensemble award, and its star Steve Buscemi won best actor in this category. Jessica Lange won the best actress in a drama series award for American Horror Story.
Modern Family won best ensemble for a comedy series, while Alec Baldwin won best actor in a comedy series for 30 Rock. Betty White, 90, won best actress for Hot in Cleveland.
Dick van Dyke presented a lifetime achievement award to Mary Tyler Moore—an actress his self-titled show in the 1960s brought to prominence—who wound up producing and starring in her own show in the 1970s. Her MTM Enterprises brought numerous series and dramas to the screen, including Lou Grant, Hill Street Blues and Remington Steele.
Dimitrios Kambouris, Kevin Mazur, Lester Cohen, John Shearer, Michael Buckner, Christopher Polk/WireImage
Compare the pair. Top Jean Shrimpton, as she appeared in Vogue shot by Bailey in 1965. Above Karen Gillan and Aneurin Barnard as Jean Shrimpton and David Bailey in a publicity shot for We’ll Take Manhattan, which aired last week on BBC4.
The visitor stats have been very clear: one of the most searched-terms at Lucire has been David Bailey and Jean Shrimpton over the last few days.
Presumably, it’s due to BBC4’s We’ll Take Manhattan, a TV film about a ground-breaking New York shoot by David Bailey and his model and lover, Jean Shrimpton. The shoot defined, according to the programme, the 1960s. As previewed in Lucire, the BBC4 film starred Karen Gillan (Doctor Who) and Aneurin Barnard as the couple. While it took a little while to get going—it begins with the pair boarding a jet to head to New York, then goes into flashback—with the charged arguments between Bailey and Vogue fashion editor Lady Clare Rendlesham occupying a great deal of the action once the story gets back on track. The centre of the argument: that it’s the 1960s, that Bailey wants to catch more liveliness, and that the stuffy portraits shown in British Vogue—which had, of course, covered the Coronation the decade before with HM the Queen and aristocratic ladies-in-waiting—were a thing of the past.
Of course it’s idealized, but it’s not too far from the truth when the film claims that Bailey and the Shrimp defined the decade.
The forces had been coming in for a while, but perhaps not with the youthquake that the Bailey represented after national service was abolished in 1962 and there was plenty of youthful energy around Britain. Technological changes in the 1950s and the telephoto lens already meant fashion photographers were experimenting with more lively shots, and Vogue photographers such as Irving Penn, Norman Parkinson and Antony Armstrong-Jones (later Lord Snowdon) were capturing moments that the magazine’s readers would not have seen the decade before. While staged, they appeared to be casual moments, with the model seemingly living her life in the editorials.
What Bailey did was take this into raw sexiness, tapping correctly into the Zeitgeist. Starting at British Vogue in July 1960, Bailey had in fact met Shrimpton while she was being shot for a cornflakes advertisement by Brian Duffy. And unlike the film, Bailey was actually very grateful for the gig and knew what British Vogue was: ‘When Vogue offered to pay me to photograph beautiful women all day I thought I was on a dream-boat.’
Gillan captures the innocent country girl that Shrimpton was at that point, which makes the transformation into ’60s sex icon all the more poignant. Never mind posh locations with Bailey: the Shrimp was on the floor, legs akimbo, complete with teddy bear or another prop. Skirts got shorter, progressively so till 1966, and Jean Shrimpton and her long legs modelled plenty in the decade. It might not be inaccurate to say that Shrimpton was the 1960s supermodel, along with Twiggy—certainly they were two of the most recognized women in Britain. Vogue had gone from being a magazine read by the well-to-do lady to one that reached the masses—and for the first time, its pages even became pin-ups.
Bailey has remained in the public eye with his ongoing work, though Shrimpton has opted for a quieter life, running a country hotel. Both had reportedly approved of the script, which showed them in a positive light—though given Shrimpton’s silence over the years, we’re guessing it must have had some verisimilitude for her to give it the nod.
There were some glaring mistakes—a 2005 Chevrolet taxi zooms by in a 1962 scene in New York—and Mad Men it was not, neither in feel nor in execution. Where Kudos was once known for lavish productions—Life on Mars springs to mind—some corners felt cut, probably thanks to the recession and the difficulty of securing locations that still looked “’sixties enough” in New York. It lacked the pace of another winter BBC film around this time last year: Eric and Ernie, covering the pre-fame period of Eric Morecambe and Ernie Wise.
But, on the other hand, period Vogue covers were faithfully re-created, the wardrobe department did extremely well securing period costumes, and Frances Barber stole the show with her portrayal of Vogue editor-in-chief Diana Vreeland in the New York scenes. And it summed up the period well: while a telemovie will take liberties with history, there was no denying that Bailey and Shrimpton were influential and very deserving subjects.—Jack Yan, Publisher
Top Diane Krüger is one of the VIPs at the Versace Étoile de la Mer eyewear launch. Above Donatella Versace and Anna Wintour.
Versace hosted a dinner at Restaurant Lasserre in Paris on January 23 to unveil its spring–summer 2012 eyewear collection, dubbed Étoile de la Mer.
The capsule collection features two sunglasses and one optical model, each in various pastel colours. Eagle-eyed readers will spot the signature frameless pilot-shaped model at the spring–summer 2012 women’s fashion show in Milano.
Donatella Versace and Vogue Paris editor-in-chief Emmanuelle Alt played host, with celebrities including Vogue editor-in-chief Anna Wintour, Abbie Cornish, Diane Krüger, Haider Ackerman, Ludivine Sagnier, Daphne Guinness, Maggie Grace, Suzy Menkes, Bérénice Bejo, Salma Hayek and Riccardo Tisci.
The campaign image features supermodel Gisèle Bündchen, photographed by Mert Alas and Marcus Piggott at an abandoned pool in the California desert. Giovanni Bianco art-directed.
Donatella Versace says of the campaign in a release: ‘Gisèle was the perfect choice for this campaign. Her beauty is so bold in these images and she radiates true strength and sensuality. As an iconic beauty, she is also the perfect fit for the Étoile de la Mer eyewear collection. The images of her in the collection are stunning and powerful. This is exactly the vision I had when I started the design process.’
The Versace Étoile de la Mer optical style will be available at OPSM in New Zealand from February, with the sunglasses following at Sunglass Hut in April.
Above Scenes from the launch event, with guests including Maggie Grace, Emmanuelle Alt, Daphne Guinness, Bérénice Bejo and Salma Hayek, and Haider Ackerman and Suzy Menkes. Below The Gisèle Bündchen campaign image and the three Versace Étoile de la Mer designs.
The Heart Truth campaign has seen the Coca-Cola Company create newly designed packaging for Diet Coke to commemorate the soft drink manufacturer’s fifth-year support of the National Heart, Lung, and Blood Institute’s (NHLBI) campaign, to promote heart disease awareness. Diet Coke has also participated in numerous awareness-raising programmes to aid the campaign over the last few months.
The première of Madonna’s new single ‘Give Me All Your Luvin’’ in Piccadilly Circus did not go particularly well: not only was the video late, but it ran without sound.
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