Gia Coppola's debut and a makeover for Dior Homme
Last night in New York, Gia Coppola unveiled her debut feature film, Palo Alto, based on James Franco's book of short stories about growing up in the California suburb. The film, starring Franco and Emma Roberts, wasn't the only thing that Coppola (the niece of Sofia and granddaughter of Francis) revealed at the Tribeca Film Festival event.
"I had never watched The Godfather until recently—no one in my family would watch it with me because they have all seen it so many times," said the director of her grandpa's iconic movie, as she made her way down the red carpet at SVA Theatre on West 23rd Street. "I finally just watched it with James [Franco], and we started watching at, like, 11 p.m. at night, so he was, like, hitting me to stay awake. But it's a great film," she told Style.com.
No one needed help staying alert during last night's screening of her coming-of-age tale. The film, a story about the universal emotions involved with being young and growing up, prompted everyone to think about their high school days. (Franco, however, left the screening early for his Of Mice and Men evening show.) "I was homeschooled, so I was kind of mellow and cool," said Roberts. "I just tried to get through unscathed."
Afterward, the crowd, including Zac Posen, Atlanta de Cadenet Taylor, and Gina Gershon, regrouped at Up & Down bar, where the party continued with a performance by the movie's composer, Dev Hynes. Coppola arrived with her high-school-appropriate party shoes in hand—Converse high-tops, of course.
Meanwhile in Soho, new clothes means new context. Such was the case, at least, at the Dior Homme store, which the brand has just adapted with modular racks and shelves for the arrival of designer Kris Van Assche's Autumn 2014 collection. Conceived by Parisian duo M/M, the one-month setup incorporates cylindrical standing lamps (twenty-six in all, each smeared with a different letter of the alphabet) and gallery-esque lighting effects, a fitting complement to a collection inspired by Van Assche's art-student days in Antwerp.
"They used to be pre-deliveries of the main collections, and it's really important to insist on the fact that they are no longer that," Van Assche said of the merchandise. "They're really a different story, and so we tell it in a different way."
The party moved to Acme, where the likes of Shala Monroque and Peter Brant Jr. joined. Brant clacked the metal fingertip covers he was wearing, insisting they weren't purely decorative. "I had an accident with my fingernails," he said.
Like the installation, Van Assche's stay was a fleeting one. He'd be on a plane less than twenty-four hours later. "All this is fun, talking about collections that are finished," he said. "But I need to get back to work."