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    How Much Do Celebrities Make From Fashion Deals?

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    And what’s in it for the brands? As the industry’s model for working with public figures shifts, the power dynamics are becoming increasingly unclear.On Friday in Paris, the Northern Irish designer Jonathan Anderson will show his first collection as the creative director of the French fashion house Dior. During his previous, 11-year tenure as the creative director of the Spanish brand Loewe, Anderson became known for his avant-garde sensibility and dedication to craft — but also for his unique ability to turn the internet’s so-called boyfriends (those young actors and musicians who are lusted over online with possessive familiarity) into bona fide celebrities.In the front row of Anderson’s fall 2024 Loewe men’s wear show in Paris were the established actors Jamie Dornan, Andrew Garfield and Nicholas Hoult, but also, seated with equal prominence, emerging ones, including Drew Starkey, who was set to star in “Queer” (the 2024 Luca Guadagnino movie for which Anderson oversaw the costumes), and Josh O’Connor and Mike Faist, who would soon appear as romantic leads in Guadagnino’s film “Challengers,” a film that helped them reach mainstream heartthrob status, and with which Anderson was also involved as a costume designer. The following June, at Anderson’s final Loewe men’s runway show, the rising actors Kit Connor, Evan Peters and Enzo Vogrincic sat front row — suggesting, based on the strength of the designer’s track record, that they too would also soon become leading men. For Loewe, it was a display of cultural currency; for the actors, it was free publicity.It used to be that an association with a brand was, if not a career-killer, then certainly not chic for an actor. It was hard to be taken seriously as both an artist and a de facto fashion model. But in recent decades, the rise of social media and the expansion of the fashion industry have blurred the lines between model, actor and influencer. Back in the 1980s, the Italian fashion house Armani began dressing Hollywood celebrities, including, most notably, Richard Gere for his role in the 1980 movie “American Gigolo.” But gone are the days when one megastar served as a company’s global face. Today brands adopt a multitiered system of ambassadors that includes international stars, yes, but also up-and-comers and influencers. While these cliques are often described by their members and parent brands as “family,” and frequently represent a genuine affinity, they are also carefully constructed to maximize a company’s exposure on red carpets and billboards — but also very specific corners of TikTok. Now, as this business decision solidifies into standard practice, the question is, Who ultimately wields the power, the celebrities or the brands?Until 2010, “a few brands had ambassadors, but it was mainly for fragrance,” says Ben Cercio, the founder of a consulting agency specializing in brand strategy and communications with clients including the French fashion house Givenchy. But with the launch of Instagram that year, a shift occurred: companies began to engage not just with major actors but also with “microinfluencers” — online personalities with less than 100,000 followers — to reach their audiences early on. And because social media has accelerated the rise to fame, whenever a new talent in any field emerges from the crowd, “every brand wants to get its hands on them,” says Cercio. Now an ingénue like the actress Mikey Madison, who starred in last year’s “Anora,” might have a dozen offers from brands immediately after making a buzzy debut at a festival like Cannes, suggesting that it’s often the young actors, rather than the brands, who are in control. When Madison accepted her Oscar for best lead actress in March, she wore a custom look from Dior.A Calvin Klein billboard featuring the actor Jeremy Allen White in New York’s SoHo neighborhood, photographed in 2024.© Richard B. Levine/AlamyWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Television

      Gunilla Knutson, Star of ‘Take It Off’ Shaving Cream Ads, Dies at 84

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      A model who was crowned Miss Sweden in 1961, she became best known for commercials that one observer said “replaced the ‘hard sell’ with the ‘sex sell.’”A blond Swedish model named Gunilla Knutson holds a can of shaving cream to her cheek and gazes deeply into the camera. “Nothing takes it off like Noxzema medicated shave,” she says.In a 60-second commercial from 1966 that rings with double entendre, the jazzy instrumental “The Stripper” plays as a man shaves his face in rhythmic strokes timed to the bump-and-grind of the music. When the camera returns to a tight close-up of Ms. Knutson (pronounced KUH-noots-son), she utters seven of the most famous words from that era of advertising.“Take it off,” she says, before pausing slightly. “Take it all off.”In another ad from the campaign, Ms. Knutson strips the rind from a lime, licks her thumb slowly and hums “The Stripper.”“Men,” she says. “Noxzema shave cream now comes in lime, too. So take it off.”Ms. Knutson, for whom the Noxzema campaign represented the peak of her fame, died on Feb. 3 in Ystad, Sweden, where she was born and where she had lived since leaving Manhattan a few years ago. She was 84. Her death was not widely reported at the time.Her son, Andreas von Scheele, said she died in a hospital after dealing with multiple medical issues. He and her husband, Per von Scheele, are her only immediate survivors.Gunilla Karin Maria Knutson was born on Nov. 14, 1940, to Einar and Sonja Knutson, who divorced when she was young.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Music

      Did Bob Dylan Help Announce an Album From MGK?

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      The pop-punk star’s trailer for “Lost Americana” features a familiar voice narrating about a “quest to reclaim the authentic essence of American freedom.”“‘Lost Americana,’” the familiar voice intones, “is a personal excavation of the American dream.” So begins a few sentences’ narration over a trailer released online Tuesday for an upcoming album by the artist MGK, formerly known as Machine Gun Kelly.And darned if the narrator does not sound exactly like Bob Dylan.It seems that Dylan, 84, the Nobel laureate and firmly canonized member of the American musical scene, has lent his voice to promoting the pop-punk musician’s first LP since “Mainstream Sellout” in 2022.Neither artist has publicly offered confirmation. A representative for MGK did not reply to a request for comment. A representative for Dylan said the artist is on tour and was not available.The trailer features grainy, home video-style footage of MGK — an insouciant onetime rapper who has since branched out to country, pop and pop-punk — pursuing such analog activities as riding a motorcycle, smoking cigarettes and hanging out with friends. The voice advertises the album, due in August, as “a love letter to those who seek to rediscover: the dreamers, the drifters, the defiant.”So what would bring together a tattooed musician, actor and model known for making tabloid headlines for his onetime relationship with the actress Megan Fox and … Bob Dylan?Dylan and his music have been known to pop up in surprising places — like ads for the Bank of Montreal, IBM, Chrysler, Cadillac, Victoria’s Secret and Pepsi. (Though he often doesn’t show up where you might expect — like the Nobel Prize ceremony where he was being honored, or an episode of “Saturday Night Live” on which the actor Timothée Chalamet performed his music.)Dylan and MGK have demonstrated an affinity for each other. MGK’s latest single, the jittery genre mash-up “Cliché,” features the lyric “Baby, I’m a rolling stone” — arguably a reference to the title of Dylan’s most famous song.In February, Dylan posted a video of MGK performing the rap track “Almost” on his Instagram. MGK’s response: “you having a phone is so rad,” he commented. (“Times they are a changing yo,” added another commenter.)The trailer’s director, Sam Cahill, posted it on his own Instagram account Tuesday with a caption that MGK echoed in his own feed: “Trailer narrated by …” (Cahill did not reply to a request for comment).The narration describes MGK’s new work but sounds exactly how a Dylan fan — or Dylan himself — might describe Dylan’s output: “a sonic map of forgotten places, a tribute to the spirit of reinvention and a quest to reclaim the authentic essence of American freedom.”The narrator adds, “From the gold neon diners to the rumble of the motorcycles, this is music that celebrates the beauty found in the in-between spaces where the past is reimagined and the future is forged on your own terms.”Or maybe that is just a coincidence. As someone once said, “Well, we all like motorcycles to some degree.” More

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      in Movies

      AMC Says It Will Show More Ads Before Movies

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      The theater chain’s decision brings it in line with what its biggest competitors, Regal and Cinemark, have been doing since 2019, but it risks irking loyal customers.It’s a perennial frustration for moviegoers: The lights go out, the theater falls silent and the anticipation of the movie builds.But wait! Here are a few more ads for you to sit through.Most cinema enthusiasts know that going to the movies comes with a healthy dose of promotion, from the ads onscreen to the ones plastered on drink cups and bags of popcorn. But starting in July, AMC will join its major competitors in running even more commercials before movie screenings begin, in an effort to increase revenue without hiking ticket prices as the industry struggles.The movie theater chain has struck a deal with the cinema advertising company National CineMedia to play commercials in what is known as the “platinum spot” — right before the start of a movie. It is a departure from 2019, when AMC issued a strongly worded statement rejecting the company’s proposal to place ads in that spot. (National CineMedia signed agreements with two of AMC’s rivals, Regal and Cinemark, that year.)In a statement on Wednesday, AMC suggested it was prepared to receive some backlash. But at a time when movie theaters are struggling to get Americans to start going to the movies again, AMC noted that the decision would not make it any more expensive for customers.“For the past five years, AMC has sought out crucial revenue that is not reliant on the increase of base ticket prices,” the company said in the statement. Of the new advertisements, it added that “while AMC was initially reluctant to bring this to our theaters, our competitors have fully participated for more than five years without any direct impact to their attendance.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Music

      Taylor Swift Never Rerecorded ‘Reputation.’ Thank God.

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      After buying back her master recordings, the superstar says she has no plans to finish remaking her sixth album — her most inventive, shocking and risky yet.“Reputation,” Taylor Swift’s rowdy and sly 2017 document of exasperation and recrimination followed by blooming love, is, in a deep catalog of very fine albums, her finest. It is profoundly and disorientingly effective — sinister and hilarious and almost lighthearted in its viciousness — and also an experimental release from a superstar who had previously largely steered clear of formal risk.“Reputation” broke all of Swift’s formulas, taking her from an underdog prodigy who treated every win as an unexpected thrill to a pop star willing to play in the mud (and hurl it at her enemies). It may not be her most representative work, but it demonstrates her versatility and her ability to engage with the predominant sound of the moment, and reveals a snarl that had previously gone unseen.Last Friday, Swift announced that she would not be making a new recording of “Reputation” to join her Taylor’s Versions of “Fearless,” “Speak Now,” “Red” and “1989.” Those releases are the result of a long-running battle over the ownership of the master recordings of her first six albums. Swift has now acquired those assets — in a deal reportedly worth about $360 million, according to Billboard — so she no longer needs to produce an alternate version to draw fan interest away from the originals.Which means she no longer needs to tinker with memory, either. The Taylor’s Version projects were foundationally ahistoric, grand-scale curios that muddied the place Swift’s originals held in the public consciousness. They also implied, via force, that Swift’s original artistry was somehow insufficient. And it relegated old recordings to relic status, largely in the interest of commercial concerns.What they succeeded at, however, was acknowledging that for an artist with several generations of fans, some older material might benefit from a refresh and a reintroduction. The commercial and chart success of these albums — her remake of “1989” had a larger opening week than the original, the equivalent of 1,653,000 sales in the United States — suggested that old work, rethought and repackaged, could be as lucrative as new songs.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 100 Shares199 Views

      in Movies

      ‘Thunderbolts*’ Axes the Asterisk for Surprise Title Reveal

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      A plot twist that comes in the movie’s final moments will now be front and center on billboards. The director Jake Schreier explains the rebrand.If you wondered why there’s an asterisk attached to the title of the new movie “Thunderbolts*,” you won’t have to wait any longer to find out.Sure, you could have satisfied your curiosity the old-fashioned way by seeing the movie in theaters over the weekend, where it claimed the No. 1 spot at the box office. But as of Monday morning, the big reveal teased by that symbol will now be front and center on the movie’s billboards, which have switched from “Thunderbolts*” to the surprising title introduced in the film’s closing credits.(If you would like to remain unspoiled, read no further and avert your eyes from billboards for the time being.)So long, Thunderbolts: This team of misfits, headed by Florence Pugh’s weary assassin, Yelena Belova, ends the film rebranded as “The New Avengers.” And now, on billboards, the movie itself will follow suit.The name change happens in the final scene of the Jake Schreier-directed film: The wily C.I.A. director Valentina Allegra de Fontaine (Julia Louis-Dreyfus) tricks the newly assembled superteam into storming a news conference at which she introduces them to the world as the New Avengers. Then, as the end credits begin, the title “Thunderbolts*” is ripped away like a comic-book page, revealing the new moniker.After three days in theaters, that rebrand has now made its way to billboards. “It felt like, if Val is also trying to pull a switcheroo and sell the New Avengers to the world, we could do that, too,” Schreier said in an interview with The Times on Saturday. “Especially given that the asterisk has been on the movie for a year, hopefully it doesn’t feel sweaty — it feels like this was a plan and we built up to it.”Incorporating the new moniker into the marketing may also be an acknowledgment that keeping a movie secret is harder than ever these days, when surprises can be splashed across social media within milliseconds of release. Schreier, who pitched the asterisk during his initial meetings on the movie, credits Marvel Studios and its president, Kevin Feige, for a willingness to experiment with the title switch.“It’s very fun that they were open to embracing that,” Schreier said. He acknowledged that clips containing the spoiler have already made their way online, so why not make it work in their favor?“It’s so interesting in this world, and Kevin talks about it sometimes, where sometimes they wanted things to leak and they don’t,” Schreier said. “I think we all assumed that it would be a bigger part of the conversation already, so it’ll be interesting to see what happens.” More

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      in Music

      Sean ‘Diddy’ Combs’s Path From Harlem to Stardom, and Now Federal Court

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      Jason Swain was on his way home to the Bronx when friends told him that something had happened to his brother at a charity basketball game in Harlem. Nine young people at a City College of New York gymnasium were crushed to death in an overcrowded stairwell. Dirk Swain, 21, was lying on the gym floor with a sheet draped over his body.The promoter of the December 1991 event was a 22-year-old novice music producer named Sean Combs.For more than six years, the Swains and other families pursued wrongful death suits, saying Mr. Combs had oversold the game, and that bad planning and inadequate security had led to the tragedy. By the time their cases were settled, Mr. Combs had skyrocketed from a junior record label employee to global superstardom; the $750,000 that he contributed to the $3.8 million in settlements represented a fraction of his wealth as hip-hop’s newest, flashiest mogul.Mr. Combs never accepted full responsibility for the deaths and, for many people, the stampede faded into history. But not for the families who lost their loved ones.“Every one of those nine people was doing something positive in their life,” Mr. Swain said in an interview.The City College incident was Mr. Combs’s first moment of notoriety, but far from his last. In the ensuing three decades, he has repeatedly faced allegations of violence or serious misconduct. The beating of a rival music executive. Gunshots fired in a nightclub. The threatening of a reality-TV cast member. An assault of a college football coach.If found guilty of all charges, Sean Combs, who has spent the last seven months in a Brooklyn jail, could spend the rest of his life in prison.Willy Sanjuan/Invision, via Associated PressWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Music

      Goose Rules the Jam-Band Roost (Sorry, Haters)

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      A monkey, a giraffe, a pair of goth nuns, a bee holding flowers and an old-timey circus strongman made their way through the crowd last month at Luna Luna, the lost art carnival, in Manhattan.Fans of the 11-year-old jam band Goose were wise to what they were witnessing. “They’re from the band’s lore,” one explained spying the performers, who had assembled to help announce a new Goose album, “Everything Must Go.” Soon the four members of Goose and a guest saxophonist situated themselves in the center of the crowd of hundreds that fanned out to Jean-Michel Basquiat’s Ferris wheel and Keith Haring’s carousel, and began an hourlong jam.Creative, intentional, extremely eager to please: The whole thing was very Goose.A jam band “is like a sitcom,” said Cotter Ellis, Goose’s drummer. “When you watch a show like ‘The Office,’ after a while you feel like you know the characters. That’s how people view us — they feel they’re such a part of the scene that they actually get to know us.”Ellis, 33, who earlier had strolled anonymously around Luna Luna dressed as a lion, added, “I like that. I don’t want to be seen as better than the crowd. I want it to be seen as, ‘We’re all in this together.’”“Everything Must Go,” a 14-song set that features major-key tunes with lyrics alternately goofy and uplifting, a prog-y instrumental number and a new single, the Don Henley-inflected “Your Direction,” comes as the group solidifies its status as rock’s biggest “new” jam band. On Thursday, Goose will make its debut at the New Orleans Jazz & Heritage Festival, followed by its first destination festival — Viva el Gonzo, next month in San José del Cabo, Mexico — and a sold-out headlining concert in June at Madison Square Garden, long the site of heralded residencies by the jam great Phish. Together, it all inescapably feels like an anointment.“Within the community, there’s all this talk of, ‘Who’s coming next?’” said Peter Anspach, Goose’s keyboardist. “You see the lineage of the Grateful Dead, Phish. ‘Well, what’s going to happen after this?’ Is it going to be a pool of bands? Is it going to be, like, one pinnacle band?”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Movies

      Robert E. McGinnis, Illustrator Behind Classic ‘James Bond’ Posters, Dies at 99

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      Robert E. McGinnis, an illustrator whose lusty, photorealistic artwork of curvaceous women adorned more than 1,200 pulp paperbacks, as well as classic movie posters for “Breakfast at Tiffany’s,” featuring Audrey Hepburn with a cigarette holder, and James Bond adventures including “Thunderball,” died on March 10 at his home in Old Greenwich, Conn. He was 99.His family confirmed the death.Mr. McGinnis’s female figures from the 1960s and ’70s flaunted a bold sexuality, often in a state of semi undress, whether on the covers of detective novels by John D. MacDonald or on posters for movies like “Barbarella” (1968), with a bikini-clad Jane Fonda, or Bond films starring Sean Connery and Roger Moore.1968‘Barbarella’Paramount, via Corbis/Getty ImagesBeginning in 1958, he painted book covers for espionage, crime, Western, fantasy and other genre series — generally cheap paperbacks meant to grab a male reader’s eye in a drugstore, only to be quickly read and discarded.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More