Tuesday, September 19, 2017
Dakota about the Campaign "Inside and Out": "It sends a very important message. Most of the time, sensuality has nothing to do with nudity. I think we all like to wear lingerie for ourselves, not for others. Feminism is not only based on the fact that a woman can do what she wants, but also be respected and encouraged to fulfill her wishes, in all areas."
Monday, September 18, 2017
Translated by Us
You are the face of the new Gucci perfume "Bloom", reminiscent of a lush flower garden. Which garden has a special place in your heart?
Dakota: The one from our home in Colorado, where I grew up. In a hidden part ran a river, it was very muddy and rocky. As a child I played a lot there. I will never return, but I often think of it.
And your first memory of the label Gucci?
Dakota: A black, tight-fitting dress with a silver belt from the 80s, which my mother recently wanted to sort out. Of course I took it immediately.
What happens to clothes that you no longer wear?
Dakota: I put everything on a large heap and let my sisters see through it. What they do not take, I give it to charities like Good Will or to a women's house in LA.
Do you engage in other activities?
Dakota: Yes. I work with Action in Africa. Sarah, my best friend from children's days, founded the organization ten years ago when she was 17. She flew to Uganda at that time and built up a school, now she lives there.
With all the good will: what part will you never give away?
Dakota: There are almost many problems with this. Like the giant vintage Rock'n'Roll fur yacht I've capped as a teenager and never wear.
What does fashion mean to you in general?
Dakota: Well, the way you dress is, after all, a lot about who you are and how you should be seen.
Saturday, September 16, 2017
Friday, September 15, 2017
Interview by DakotajLife
Lying on a couch, Dakota Johnson’s (Austin, Texas, 1989) silhouette resembles the famous sculpture, ‘Venus Victoria,’ in which the Italian Antonio Canova idealized for the posterity to Paulina Bonaparte. With her head resting comfortably and her arm on the closest backrest while her gaze lies on her iPhone. She uses her other free hand to jump from one application to the other with the characteristic cadence of a Roman goddess.
It's a sunny morning in May and the actress, wearing a white blouse and black pants, is at a hotel room in New York City. The night before she was presented in society (at an invitation-only party at MoMA PS1) as the closest thing to a modern divinity that the ephemeral fashion industry can offer. Gucci chose her along with Hari Nef and photographer Petra Collins as the ambassadors of their latest fragrance, Gucci Bloom, the first one to introduce the new aesthetic identity of Gucci to the beauty world (independent, eclectic, timeless) after the designation of Alessandro Michele as Creative Director in 2015.
The responsible for this decision was the designer. They met on April 2015 in New York City during the cruise show. He had already delivered two of his unique collections and was positioned as the most desired creator of the moment. Herself, daughter and granddaughter of Hollywood actresses, just released the first movie of the trilogy of Fifty Shades of Grey and because of her interpretation as Anastasia Steele gained popularity. “I met him before the show. We saw each other a couple of times and we became friends. I love his designs, I feel really good on his clothes and I think we just like each other.” She says lying on the couch.
With just one quick Google search we can determinate that this encounter was a turning point in Johnson’s red-carpet attire. At the end of 2015 she went to LACMA’s Gala wearing a Gucci mustard dress with long sleeves and a ribbon. The next year at the Met Gala she wore a dress with stars of different colors. This year at The Academy Awards she wore a long sleeve gold dress and at the last Met Gala she went as the designer’s guest which he didn’t have any hesitation to tell the cameras, “I love Dakota.”
On social media, people claimed that the actress’ choice of outfit for this event was sexy. “It’s like an incessant mosquito noise. Very weird. People feeling the need not only to judge everyone all the time but also to pronounce themselves on it, it’s extremely boring. A waste of energy and time.” This must be one of the reasons why she exposes herself to the minimum: In her official Instagram account, she nearly has 2 million followers and no photos.
One subject that makes her sit straight on the couch are here next projects as a director. “I read a lot, and I have found many articles and books that I’d like to turn into films. My interests are very specific, and I want to see certain women acting on screen and drawing attention to some particular issues." she explains. "For example, the story of Carrie Buck and the eugenic sterilization that got to the Supreme Court is fascinating. I got the rights and it was something I wanted to do. Later I found another subject, an article I had read and took it to a friend that is a producer and he sent it to Sony. Everything has been so fast: In only six months I’m on five different adventures. I have no idea how this happened but it's amazing.”
Her grandma, Tippi Hedren, also was in the world of productions along with her former husband and director, Noel Marshall. She made it with the movie ‘Roar’ where 70 members of the crew were hurt during the eleven years of production. It's still considered as one of the most dangerous shootings in history.
Just like it happened with Melanie Griffith (she met Dakota’s father, Don Johnson, in 1973 when she was 14 years old filming The Harrad Experiment where her mother was the lead and she was an extra) the interpretative baptism of Dakota was sponsored by its parent. She worked in Crazy in Alabama (1999), produced by Antonio Banderas, former husband of Griffith, where her sister Stella Banderas was also starring. Dakota was ten years old. It would have take another decade for Dakota to be back in the spotlight (she had a brief role in The Social Network, 2010) and other five to settle as a star in Hollywood, thanks to the erotic saga Fifty Shades of Grey, in which the last one comes to theaters next year.
The same year she got into the skin of Anastasia Steele, she got a role in Luca Guadagnino’s A Bigger Splash starring Tilda Swinton and Ralph Fiennes, the emblematic film from the sixties La Piscine. It was like an initiatory trip to the liberating universe of the author cinema. “I fell in love instantly with her, she has a unique talent.” said the director last year. “I think Luca sees something in me that I can’t express, and I don’t know if other people can see. We have a wonderful friendship and I know we are going to make movies forever because we have created an atmosphere of trust to make weird things together.” says the actress.
In Suspiria (also a remake, this time by Dario Argento in 1977), her next project with the Italian filmmaker, still without a date release, she plays an American dancer who travels to Germany. “I started to dance when I was 16 and even though I didn’t become a professional, it has helped me for this project. The most interesting part, however, was to reconnect with the discipline, attitude, and the life of a dancer.” Probably it's not her most successful box office, but it's the interpretation that she most proudly has ever felt.
Luca Guadagnino has helped her find herself as an actress as the same way Alesandro Michele has served to settle her personal style (“I have a very intense relationship with Italian men.”). The truth is that she is not looking to be the sexiest nor the most liked person on Instagram or the most called on the red carpet. She prefers to go unnoticed and for her work to speak for herself. Be assured that if they ever make a sculpture in marble like Paulina Bonaparte, she will not be remembered for having to ask to appear half naked.
From Vogue Spain: Muses and artists; the artists and the muses. Few relationships have inspired more than those that unite the great creators with the object of their desire and their obsessions. The October issue of Vogue Spain delves into that hypnotic network of influences with a star in the spotlight: Dakota Johnson. The actress, heiress of one of the most iconic film family sagas, poses for Emma Summerton's goal with some of Alessandro Michele's most exuberant garments for Gucci.
As the director acknowledges in her letter: "In this issue we speak of muses, figures who inspire creation and mark their time. In the case of Blahnik that means remembering Ana Piaggi or Tina Chow, but especially to her mother, the capital presence of her life and her career. Manuela thus joins in these pages Dakota Johnson, Rossy de Palma, Carla Bruni, Ana de Armas or Claudia Schiffer in a gallery of disparate characters that share the capacity to provoke the creative impulse and imagination. Not only in great artists, but also in fashion fans determined to dress daily is a passport to a more fabulous existence.
Thursday, September 14, 2017
Tuesday, September 12, 2017
Actress @dakotajohnson is one of the four successful women portrayed by @mariotestino in the new #intimissimi campaign #insideandout #dakotajohnson #mariotestino #intimissimi #italianlingerie #insideandoutUna publicación compartida por Intimissimi (@intimissimiofficial) el