Issue n。13, SS 2016
It has been two-year interval for my last
purchase of The Gentlewoman. In SS 2014 issue was Madame Vivienne Westwood
empowering the pages. This spring, the cover woman is the 33 year-old,
fresh-faced Kirsten Dunst.
Starting her breakthrough silver screen career
with Brad Pitt and Tom Cruise in Anne Rice’s Interview with the Vampire, this ‘little vamp with a big future’ is
now taken to the small screen in Fargo.
And’s it’s paying off. Still, audiences wouldn’t forget her troubled adolescent
role in Sophia Coppola’s dreamy, sensual directorial debut, The Virgin Suicides, and the screaming,
often rescued redhead girlfriend of Hollywood Blockbuster Spider-Man. To me, it was Lars von Trier’s Melancholia, that the a strange and hunting feels bring out the
different sides of Kirsten, or perhaps the film reflects my own grownups also
at the period of time—that troubled, solitary and serene impacting the life and
leading to the unknown.
In Sophia Coppola’s mind, Kirsten is a
friend who ‘has a great fun side; she knows how to enjoy herself…she could
bring the emotional depth of this trapped, misunderstood girl’ (Garratt, 212).
Moving back and forth between New York and Los Angeles, Kirsten is now
co-habiting with handsome boyish actor Garrett Hedlund, whom she met while
filming Walter Salles’ On the Road.
It’s casual read from Sheryl Garratt’s conversation with Kirsten Dunst, still,
I realize that the interviewer shall discover more of an actress’ working
experiences or sincere advices about the previous films rather advertise the
unknown project or mere a term on the magazine pages.
Under Photographer Alasdair McLellan’s portraits,
Kirsten Dunst wears a selection of garments from GUCCI’s pre-fall 2016
collection. Her girlish face is make-up free, her smiles are not far from the
happiness of being young Marie Antoinette, and the reference is from Dunst posing
for SS MIU MIU campaign. The photographer Mert Alas and Marcus Piggott cast her
against type. ‘Dispensing with the winsome image built up by Kirsten’s earlier
film roles, they portrayed her as a Hollywood showgirl whose stage set came
complete with a stripper’s pole, a swing, Lynchain curtains and mirrors
aplenty’ (307). At the MIU MIU campaign, Kirsten has gothic girly touch, but on
my cover shot of the magazine, I decide to stay pinky clean, citing my own MIU
MIU camera sac as the props, capturing the spring Easter feels of the
gentlewoman.
Works Cited & Photography:
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