21 posts tagged "Sofia Coppola"
For those who didn’t get their fill after Marc Jacobs’ decadent, retrospective farewell show in October, the designer today presented a bonus swan song for Louis Vuitton: the Spring ’14 campaign. Lensed by Steven Meisel, the ads pay tribute to Jacobs’ Vuitton muses, including Catherine Deneuve, Sofia Coppola, Caroline de Maigret, Gisele Bündchen, Edie Campbell, and Fan Bingbing. They may have been Jacobs’ inspirations, but we have a feeling these leading ladies will stay in the Vuitton family under Nicolas Ghesquière’s reign.
Ever wonder where Sofia Coppola goes to relax, who cuts Natalie Portman’s hair, or where Lady Gaga gets her vintage treasures? How about Isabel Marant’s favorite spot for scrambled eggs? French Vogue contributor Carole Sabas divulges all this and more in two new books: Fashion Insiders’ Guide to Paris and Fashion Insiders’ Guide to New York, both of which hit stores on May 7. A Parisian living in New York, Sabas has previously published tomes detailing hotspots in Miami, Paris, Brooklyn, and Manhattan, but the 2013 editions offer updated, personal picks from the likes of Karl Lagerfeld, Viktor & Rolf, Gaia Repossi, Alexander Wang, and Yaz Bukey. Needless to say, fashion’s best-kept secrets—like under-the-radar eateries, flea markets, and late-night spots—are no more. Sabas’ useful, privileged info is accompanied by the illustrations of Caroline Andrieu (above, left) and Bernadette Pascua (above, right). However, in her Paris intro, the author warns that the books are not meant to be authoritative. “Sometimes the crowd in a restaurant will look more appealing than your food. And you may wonder why the tastemakers still come here season after season. Ask them and they’ll shrug: ‘The owner is crazy.’” But, she adds, when you follow the fashion set, “expect to be surprised, bewitched, puzzled, maybe disappointed at times, but always dazzled.”
Carole Sabas’ Fashion Insiders guides are available for pre-order now at Abramsbooks.com.
Spring ’13 marks a full-on nineties revival. So it’s appropriate that the new fashion-media site VFILES would choose this week to relaunch X-Girl, the indie, New York-based clothing line started by Kim Gordon (of Sonic Youth fame) and stylist Daisy von Furth in 1993. Inspired by X-Large, the L.A.-based men’s skatewear brand founded by Eli Bonerz, Adam Silverman, and the Beastie Boys’ Mike D, X-Girl offered fitted streetwear and provided a preppy, sixties-style alternative to the baggy grunge look of the decade. The duo’s first collection debuted via a guerrilla fashion show in Soho—naturally, it was broadcast by MTV’s House of Style; it was the nineties, after all—and after the designers’ pals joined in on the fun (Sofia Coppola was involved, and Chloë Sevigny was their first fit model), the line reached cult status. As von Furth explained in Paper magazine’s “An Oral History of X-Girl,” “It was all about being cool and having stuff that other people didn’t have. We had no official style background. The first thing we did was a T-shirt that said ‘X-Girl’ in Agnès B. font. We got a quick cease and desist.”
The brand was bought by a Japanese company in 1998 and hasn’t been seen stateside since. Until now, of course. The revived range—which includes X-Girl logo T-shirts, chip clips, and other kitschy swag—isn’t designed by Gordon and von Furth, but it definitely induces some much-appreciated nineties nostalgia.
X-Girl is available now exclusively on VFiles.com.
If you happen to have €1.5 million lying around, you can pick up one of Hermès’ newest offerings—a small handbag made of gold, precious stones, and some 11,000 diamonds. The house’s jewelry designer, Pierre Hardy, created four different versions, each of which will only be produced three times. [Financial Times]
Emma Watson has been cast as the lead in Sofia Coppola’s new film, The Bling Ring. The film tells the true story of teenage fanatics turned celebrity burglars. [Vogue U.K.]
A year later, and nobody is quite sure who will succeed John Galliano at Dior. Yesterday, a source reportedly told British Vogue that flowers arrived at Christian Dior’s headquarters addressed to none other than Haider Ackermann, a designer who’s name has been in the mix of contenders for a while now. [Vogue U.K.]
Gallerist Thaddaeus Ropac has a long history of collaborating with fellow creative types to showcase the work of Robert Mapplethorpe—Hedi Slimane and avant-garde director Robert Wilson among them. For his latest coup, the groundbreaking impresario—who has been showing Mapplethorpe’s work for decades—has brought a new light into the fold: Sofia Coppola and Robert Mapplethorpe.
For the new show, Coppola presents the photographer from her own perspective, bringing to light some lesser-known images. “When I was going through Robert Mapplethorpe’s archive at the [Mapplethorpe] Foundation, selecting the photographs for the show, it was interesting to discover images I didn’t know of his,” Coppola said. “For example, it was the first time I saw that he had done sweet portraits of children. It was a side of his work that was completely new to me.” Below, Style.com speaks with Ropac about Coppola and the unseen side of Mapplethorpe.
Robert Mapplethorpe, Curated by Sofia Coppola, runs through January 7, 2012, at Galerie Thaddaeus Ropac, 7 rue Debelleyme, Paris, www.ropac.net.
Tell me about the decision to present Mapplethorpe’s work through the lens of another artist.
Together with the Mapplethorpe Foundation, we decided that one way to look at his work was to ask different personalities from the creative world to curate an exhibition. In 2005, we asked Hedi Slimane to curate a show in our Paris gallery. His own passion for photography brought him close to Mapplethorpe’s aesthetics, allowing him to revisit the work in an intimate manner. In 2006, we asked Robert Wilson to curate an exhibition for the Salzburg gallery; Bob had known Mapplethorpe and shared a close friendship and artistic dialogue. Bob’s show originated from his very unique experience of being photographed by Mapplethorpe, which influenced his selection as it was comprised solely of portraits, offering the viewpoint of someone on the other side of the lens.
And why choose Sofia for this new exhibition?
When I saw Lost in Translation, certain images and framing made me think that it could be incredible to bring these two creative universes together.
What aspect of Mapplethorpe’s work is highlighted in this exhibition?
Sofia made her selection of photographs from the Mapplethorpe archives at the Foundation in New York. She has chosen a totally different perspective, one that is probably more contemplative and not so straight on, somehow more intuitive. In fact, the idea of these curated shows is to present Mapplethorpe’s work in a less academic light. She will include many of his still-life flower photographs, but has also selected some lesser-known portraits of children and animals. These will be punctuated by photographs of landscapes, which may recall scenes from a film.
These images aren’t the ones we typically associate with Mapplethorpe, which tend to be more provocative and, often, homoerotic.
Mapplethorpe’s work implies a certain sexual aesthetic that Sofia has chosen not to present in this show, so she will definitely show a different side to the artist’s work through her selection, which will go beyond the obvious.
How do you feel about Mapplethorpe’s legacy nearly 30 years after you first showcased his work?
I was very proud to show his work in Salzburg in the eighties. Mapplethorpe’s career underwent an incredible transformation from the Robert Mapplethorpe I met back then, whose work was very underground, to his first photographs being purchased by an important museum as the Guggenheim, to being considered an artist who largely contributed to positioning photography as an art form in its own right and, ultimately, to becoming one of the major artists of the twentieth century.