With production on Baby Jane underway, Bette and Joan form an alliance, but outside forces conspire against them.
FX’s latest series from Ryan Murphy doesn’t premiere until Sunday, but Round 2 of Feud already is set. The cable net said today that it has ordered a 10-episode second season of the anthology project, this time focusing on England’s sweethearts Prince Charles and Princess Diana.
Set to air next year, Feud: Charles and Diana will be written by Ryan and Jon Robin Baitz (The Slap), who executive produce the series with Dede Gardner, Plan B Entertainment and Alexis Martin Woodall. Fox 21 TV Studios is the producer. Baitz is a consulting producer on Ryan and FX’s Katrina: American Crime Story and created the 2006-11 ABC drama Brothers & Sisters.
Meanwhile, the first installment, Feud: Bette and Joan, stars Susan Sarandon and Jessica Lange and as respective fellow Oscar winners Bette Davis and Joan Crawford in the story of their legendary rivalry while collaborating on the 1962 thriller What Ever Happened to Baby Jane? and well after the cameras stopped rolling. The eight-episode series explores how the two women endured ageism, sexism and misogyny while struggling to hang on to success and fame in the twilight of their careers. Co-stars include Alfred Molina, Stanley Tucci, Judy Davis, Jackie Hoffman and Alison Wright. Guest stars include Catherine Zeta-Jones, Kiernan Shipka and Ryan’s American Horror Story veterans Kathy Bates and Sarah Paulson. Ryan created the series with Jaffe Cohen & Michael Zam.
Both at Carven and now at Ricci, Henry’s clothes have attracted a particular type of ingenue, one who radiates youth but also intelligence and sincerity—Henry defines his type as “girly and strong”—epitomized by Dakota Fanning and Mad Men alum Kiernan Shipka. The latter says she is a longtime fan of Henry’s work (well, long is relative when you’re 16), but she meets the designer himself for the first time on their ELLE shoot in a Los Angeles photo studio where, perched in the makeup chair, she reports that she has just earned her driver’s license.
Born in Chicago, Shipka moved with her family to Los Angeles at age six for her acting career, and within six months was cast in the role of the wide-eyed grade-schooler who grew into an increasingly complex Sally Draper. The world watched Shipka grow up onscreen, but also on the red carpet, where she evolved, with remarkable composure and nary a misstep, from a prim little girl in comfortingly age-appropriate party dresses to a pitch-perfect young woman with a taste for colorful, demure ’50s and ’60s silhouettes informed, no doubt, by her day job. Shipka loves Henry’s designs because they express the tricky balancing act that she feels in her own life, as someone not old enough to vote but expected to be preternaturally poised on red carpets and in interviews. “That’s really important to me: clothes that embrace the age I am but that are still sophisticated,” she says. “The clothes kind of instantly make you feel a little…French.” On set, Henry asks her for L.A. travel tips; she recommends the Broad, a museum of contemporary art that’s famous for housing Yayoi Kusama’s Infinity Mirrored Room. Later, he notes that “you can see in her eyes that she’s clever—and to me, clever is attractive.”
Toward the end of the shoot, Shipka slips into a floor-length red sequin sheath from the fall collection. It is “major,” she declares, fit for “the most stylish holiday party ever or the red carpet.” She shimmies a little in the mirror, pulling up the hem from her bare feet, and smiles the way other girls her age do upon finding the perfect prom dress. “I don’t know if this is a word, but I’d describe his clothes as all very glowy,” she says approvingly.
Hair by Kylee Heath at the Wall Group for Shu Uemura; makeup by Kayleen McAdams at the Wall Group for Nars; manicure by Emi Kudo at Opus Beauty for Maxus Nails; fashion assistant: Caitlin Myers
This article originally appeared in the September 2016 issue of ELLE.
Editor’s Note: For our very special September Issue, Kiernan Shipka got to experience an anything-but-typical trip of a lifetime to explore the Chanel flower fields during the yearly, three-week May rose harvest. There, Kiernan learned exactly what goes into the iconic Chanel No. 5 fragrance (which was created by Coco Chanel herself in 1921) and the new No. 5 L’Eau, which mixes jaunty hints of citrus with the house’s signature rose de mai.
A few weeks later, it’s clear the trip left a lasting impression on the starlet, who can be seen next on the big screen in The Blackcoat’s Daughter. Our time in the fields and Coco Chanel’s sensibilities proved so inspiring to the actress that she was compelled to open up in the essay below about her current relationship with fashion, feminism, and femininity and why they can beautifully coexist.
Coco Chanel once said, “Look for the woman in the dress. If there is no woman, there is no dress.” I recently learned more about the iconic designer, who made her make rebelling against gender norms of her time, on a dream-come-true trip earlier this summer to France. I toured Coco’s apartment in Paris and also visited the rose fields of Grasse, the birthplace of Chanel No. 5. It was an expedition that changed the way I thought about the designer and her brand. I think I even changed a bit after learning so much about such a complex person and spending time in such a spectacular place.
Similar to Coco, I’ve never been someone who has thought fashion and feminism are mutually exclusive. In fact, I think they work together in a lovely, empowering way. For me, feminism is about being who you want and having the freedom of choice. As long as you have that, you should be able to dress however you like, whether it means ultrafeminine, supertomboyish, or something else entirely.
I was 6 when I started playing Sally Draper on Mad Men. I feel incredibly lucky that my first major role was someone with a lot of depth and growth, and that I was surrounded by people who treated me like a peer. For nearly eight years, I portrayed a very complicated and realized character, and there’s no question that being Sally (who is much cooler than me, by the way) has influenced my being in so many ways.
I grew up on a set surrounded by strong actresses, as fearless in real life as the roles they played, not to mention so many female writers, directors, and crew members. That was my acting school. It raised the bar for me — and influenced me. Having worked with forces of nature like Janie Bryant, Leslie Linka Glatter, and January Jones, I found my environment was so celebratory of women that it became natural for me to be myself and not live according to any standards that held me back.
I recently reached a stage in my style when I decided I was just going to really go for it. What people think no longer matters to me. I just want to enjoy myself. This mindset has made me so excited about fashion and so excited about taking risks. I’m having more fun than ever with how I dress, and I’m learning so much about my personal aesthetic along the way. I’m known for wearing a lot of feminine dresses, but lately I’ve been really into pants and how great they feel to wear (I think Coco, who made trousers more socially acceptable on women, would approve!). They’re easier to dance in, and I never know when I’m going to bust a move. Whatever the occasion, if I find a cool pair, you can count on me to be wearing them. Even if there is no dress, there can still be a woman.
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In a pre-Cannes move, Voltage Pictures has come on board to co-finance and handle international sales on the Constantin Film/Don Carmody co-production “Unwind,” starring Ian Nelson, Kiernan Shipka and Percy Hynes White.
Roger Avary is directing. He and his daughter Gala wrote the screenplay, based on Neal Shusterman’s best-selling novel.
The story is set in a cruel dystopian world where, when young adults turn 18, they either become a functioning cog in the machine of a brainwashed society, or they are “unwound” — with their bodies taken apart, piece by piece, and given to those the government determines to be more suitable.
Nelson, Shipka and White will portray three young people with a desire for freedom and self-determination that is greater than their fear of unwinding. Bill Paxton and Jay Baruchel are also attached.
Producers are Don Carmody, Robert Kulzer, Avary, Julian Stone and Marc Benardout. Executive producers are Martin Moszkowicz, Nicolas Chartier, Jonathan Deckter, Charlotte Stoudt and Catherine Kimmel.
Principal photography is set to begin in mid-October in Manitoba, Canada. “Unwind” will be set up as Canada-Germany Treaty Co-Production.