Returning for a second Dior campaign in support of the Miss Dior handbag, actress Mila Kunis slipped into the skin of a Fifties Hollywood star — a bouffant hairstyle accentuating the glamorous, retro mood.
The black-and-white spots, photographed in Los Angeles by Mario Sorrenti with styling by Carine Roitfeld, depict Kunis as the kind of woman accustomed to attention from throngs of paparazzi, and to smoldering in front of the camera. The young actress, who won wide acclaim for her turn in 2010’s “Black Swan,” is currently on screens in the Seth MacFarlane comedy “Ted.”
The worldwide campaign for Dior is to make its debut in the August issue of Elle Hong Kong on July 21, followed by a range of September issues, including Bazaar and Tatler in the U.K., Vanity Fair in the U.S. and Vogue Paris in France. Dior also plans to unveil the images, along with behind-the-scenes imagery and mini film, on its Miss Dior Web site as of Wednesday.
(via WWD)
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”Venus” dress by Christian Dior, 1949
Gray silk net embroidered with feather-shaped opalescent sequins, rhinestones, simulated pearls, and paillettes.
This extraordinary ball gown by Christian Dior, of foggy gray silk tulle, arrayed with an overlay of scallop-shaped petals, is called “Venus.” The bodice and shell forms of its skirt are embellished with nacreous paillettes and sequins, iridescent seed beads, aurora-borealis crystals, and pearls. The glittering overskirt and train adumbrate both the seashell motif and the crescent wave patterns of Botticelli’s Venus. Dior is best known for his revival of the wasp-waisted silhouette seen here. His celebrated first collection of 1947 was dubbed the “New Look” by the influential American editor Carmel Snow, because the corseted, full-bosomed, and hourglass shaping had not been seen for decades. In fact, the “New Look” was an old look revived. After the deprivations of World War II, Dior believed that the survival of the haute couture relied on its ability to restore fantasy and luxury to women’s wardrobes. The fragile effects of this gown, which merges Second Empire romanticism with the classical iconography of ideal and eternal beauty, recall Dior’s belief that “fashion comes from a dream.”
(via autumnwintour)
