My birthday’s this week! To celebrate, I thought I’d write about someone I could share the festivities with. But since I can barely formulate sentences at the thought of Robert Pattinson, I was left with Sofia Coppola, who incidentally happens to be one of the biggest fashion motivators of our time. Read on, I hope you enjoy!
On May 14th 1971, Sofia Coppola was born to set decorator Eleanor Jessie Neil and director Francis Ford Coppola. Her career began shortly after. Remember Connie and Carlo’s newborn son in The Godfather? That was her!
She grew up making appearances in six other of her father’s movies before nailing her first self-earned role in 1994. Many will accuse Coppola’s career as nepotistic – while it’s undeniable she was quite simply just born to the right family, I’ll show you the ways in which she managed to carve a name for herself.
In 1998, Coppola started a clothing line called Milkfed sold predominantly in Japan and LA. Founded with Stephanie Hayman and Kim Gordon, Milkfed had Coppola in charge of designing all the quirky pieces. Her designing experience dates back to her internship with Karl Lagerfeld in high school.
The following year, she released her first full-length feature, The Virgin Suicides.
The film was well-received by critics, though I particularly enjoyed Coppola’s ability to capture the melancholic sweetness of spring. While it was never distracting from the story, the mise en scene played out like a gorgeous fashion editorial in motion.
It instantly became the standard for Spring fashion. Read more on the style here.
Coppola’s next project was 2003’s Lost in Translation. The film was a critical success; winning four Academy Awards.
What I took in from the movie was proof that Coppola had an innate ability to push her personal take on fashion to the forefront of the screen. In this case, she made Japan and college-grad simplicity incredibly romantic and trendy.
And of course, she made pink panties iconic.
Three years later, she released Marie Antoinette. Though based on a historical figure, Coppola’s interpretation was highly stylized.
Bluntly put, it was badly received, though it still remains as one of the most influential fashion films of all time.
And in true Coppola fashion, the movie was really a full length fashion spread. Even Vogue didn’t have to try hard for their Marie Antoinette promo editorial.
Coppola’s next movie is scheduled for release late this year. In the mean time, she’s been doing various music video clips and raising her daughter. She did however direct the advertisements for Miss Dior Cherie starring Maryna Linchuk.
In between takes, Coppola remains a style icon regardless of the movies she makes to motivate fashion.
Coppola’s taste generally sticks to monochrome basics that steer either towards whimsically romantic or casually androgynous.
Her style might not be in-your-face like Katy Perry’s or Lady Gaga’s; it was very much the same way Francoise Hardy would wear a striped t-shirt and make it look exceptionally covetable. Coppola instead exudes style in simplicity, making her timelessly iconic.
The campaigns were shot by Juergen Teller in his signature grainy style. Her role as the brand’s poster girl seemed like a match made in heaven – each of her adverts looked like a Copolla film while being distinctly Marc Jacobs.
Which is why it came to no surprise when she became his muse somewhere along the way.
Last year, she even designed a collection of bags and shoes for Louis Vuitton.
Coppola will always ride high in my books for her innate ability to effortlessly motivate the fashion industry through different mediums – her personal style, as a muse, as a designer and through her movies.
But enough about my raving – what do you think of Sofia Coppola?
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