MAGNIFICENT OF OBSESSION，
A 1950s Domestic Drama。
Natalia Vodianova與Ewan McGregor主演，
Vogue US July 2010 攝影師 Peter Lindbergh
WE LIKE LIKE The American dream, c. 1957: two cherubic children; Dad's a gray-suited young executive on the rise; Mom runs their fashionable new house in a bedroom community not far from Manhattan.
MID-CENTURY MODERN She's dressed—like Jane Wyman in a bittersweet Douglas Sirk romance—in one of the chic full skirts that came in with the New Look in 1947 and reigned until the early 1960s as the emblem of the 1950s woman: traditionally feminine, nurturing, decorous.
INVITATION OF LIFE The Universal Studios/Sirk look focused on a lush, overripe Technicolor palette—like the hypervivid kaleidoscope print of her dress and the cherries-in-the-snow shine of her bag and slingbacks.
FAR FROM HEAVEN Like Julianne Moore in Todd Haynes's homage to the genre, Natalia Vodianova is a swan frantically paddling underneath a placid surface of bourgeois satisfaction.
REBEL WITHOUT A CAUSE The catalyst of our renegade heroine's break from society's constraints is, of course, the other man. Working-class and sporting a James Dean pompadour, he's all wrong. Will she choose love or convention?
LET'S PLAY HOUSE Impeccably turned out in a swaying hourglass frock, pumps, and brooch, she's the very image of feminine complicity in the status quo. (But, out of husband's earshot: transgression.)
ON THE ROCKS McGregor takes the news in manly Rock Hudson style, with a belt of scotch and a tie-shorn tuxedo.
SEPTEMBER SONG "And the autumn weather turns the leaves to flames, and I haven't got time for the waiting game..." With the poignant 1950 hit tune playing in her head, she tumbles from grace in tumbling-leaf orange (one of the decade's favorite colors).
TAKE THE MONEY AND RUN A respectable suit even Pat Nixon could love opens to reveal sinful satin lingerie. (Like a good housewife, c. 1963, blossoming to reveal her hidden sexuality and ambition after reading The Feminine Mystique.)
SCARLET WOMAN Cinematographers' hues in these maternal melodramas were often symbolic. What else could this fallen woman wear? (The suit's cut suggests the waistless "sack" look pioneered by daring women in 1957 and 1958.)
THERE'S ALWAYS TOMORROW Brazen to the last, she meets her lover in public, dressed dashingly for her escape.