^ Strappy ones that she wears a lot are 100% Celine.
Oh, and these are actually Valentino SS 2013
style
Oh, and these are actually Valentino SS 2013
style
-
Share with us... Your Best & Worst Collections of Haute Couture S/S 2025
Sofia Coppola
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Not Plain Jane
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^ Agree: love that she's wearing tennis shoes in that editorial - and how pensive she looks.
FrenchCactus
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Sofia is on the cover of the Times of London.
The Times of London
The Times of London
crimsonlakes
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I always enjoy when Sofia has a film to promote because we get all these new photos. 
newprincesita
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She has the knack for making simple luxurious.
YoninahAliza
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Sofia looks stunning those photographs for Interview.. so incredibly poised.
Label Basher
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Thanks for the ID. I so want them. They look just the right height.
She looks really good with the heavy eye-liner.
YoninahAliza
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New interview with Sofia on Rookie. It's lovely. 
Girls With Power and Mystique: An Interview with Sofia Coppola by Tavi
Sofia Coppola has written and directed some of my favorite movies—The Virgin Suicides, Lost in Translation, Marie Antoinette, Somewhere—and has now blessed us with a fifth movie, The Bling Ring. Based on a Vanity Fair article about a pack of L.A. teens who burglarized celebrity homes a few years ago, it avoids feeling preachy in a WHAT’S THE MATTER WITH KIDS TODAY? way, instead getting its point across by leaving you in utter disbelief with an unnerving sense of discomfort. The Bling Ring doesn’t try to have its cake and eat it too by excusing pervy shots as commentary (the way I think Spring Breakers did). It’s subtle and clever, and I want see it again and again. Sofia generously spoke to me last week about the film, her moodboards, and this new internet wave of Virgin Suicides love. (Note: The phone connection was not great but somehow the zines/jeans confusion worked out.)
TAVI: I’ve read some reviews of The Bling Ring that are like IT’S A CRITICISM OF OUR LIVES, but when I interviewed Emma Watson she said she felt it was filmed in a nonjudgmental way, and I kind of felt that way when I saw it, so I would just like to ask you: How did you want your audience to feel?
SOFIA COPPOLA: I saw this culture growing and growing, so I wanted the audience to experience it for themselves, and by the end of [the movie] to think about what’s important to them and how they feel about it—not to tell them what to think.
Right. Did you find it hard to do that without glamorizing that culture?
Yeah, I wanted to see it through their point of view, to understand how they got so into it. I wanted, in the beginning, to shoot all of this stuff in a really seductive way and make it look fun—you want to be able to be part of it so you understand where they’re coming from. But then by the end of it, you kind of have a shift and take a step back and, you know, kind of look at it.
A lot of your movies can be kind of critical of these different examples and settings of privilege and glamour and fame, but you kind of have to operate within that realm to make the art you want to make, to make films. How do you reconcile that, and what makes it worth it?
It’s important for me to promote my movies, so I do press that’s about promoting my work—which is really different from promoting oneself. I wouldn’t do press just about myself. The side of our tabloid culture that these kids are so into, for a lot of those people it’s more about just being famous and being personalities—which is so different from people that are being celebrated for what they’ve accomplished.
I read an interview with Emma where she was like, there’s a difference between people who are celebrated for actually doing things and making art, and [the ones who do it to] be trendy.
To me that’s a more recent phenomenon. We didn’t have that when I was growing up.
Why do you think that is?
It seems like it’s from reality TV and social media—this idea that kind of anyone and everyone can be famous. It’s just such a big part of our life now.
I read one interview where you said that you felt that there weren’t many movies for teens like The Bling Ring—movies that carefully consider cinematography or have any visual ambitions. Did you feel that was missing when you were a teen? Like, is that something that you noticed and wanted even then?
You know, I loved John Hughes’s movies, and I connected to those movies. But a lot of the movies that were made for teenagers were really, um, dorky and unsophisticated. And I feel like kids are more sophisticated and thoughtful than the [movie] studios give them credit for. I remember them worrying about The Virgin Suicides, like, girls are going to see it and they’ll kill themselves. They didn’t understand that teenagers are…it’s a time when you’re just focused on thinking about things, you’re not distracted by your career, family, you know. It’s a thoughtful time. There’s a tradition that I love, movies like Over the Edge and Foxes—which I was thinking about when I made this movie—that had a real spirit and felt real and authentic to that age. Or Rumblefish, my dad’s movie that was like a teenage art film. I like that you can make a teen movie that has beautiful photography and try to approach it in an artful way. I feel like that’s not that common.
So many of your movies of your movies are about teenagers. What continually draws you to them as subjects?
I always like characters who are in the midst of a transition and trying to find their place in the world and their identity. That is the most heightened when you’re a teenager, but I definitely like it at the different stages of life. I like stories where the drama comes more as an internal part of the character as opposed to from outside forces that make you change. I wasn’t planning to do a movie about teenagers, but when I read the [Bling Ring] story it felt like it had all of the elements of a movie that would be fun and exciting but also disturbing. I was thinking about that part of our culture, which I thought people weren’t really talking about. I thought it was something timely to talk about.
Usually in your films there’s an ingénue who’s just so immediately likable that you just want to watch her, but The Bling Ring is kind of different. How did you approach that relationship this time?
Yeah, I thought, How am I going to make a movie where the characters are so unsympathetic? Usually there’s a girl or a character that I connect with and see part of myself in, and in this one I didn’t. It was really a challenge to find a way to tell the story in a way that would engage you, ’cause if you don’t care about the characters how can you get into it? But then I met [Nick Prugo], and I thought he was really the most sympathetic one—you could understand how he could have gotten caught up in this group and why he wanted to be a part of it. I remembered being that age and, you know, you do things you wouldn’t do as an adult because you want the excitement of feeling like you’re part of something.
So our theme on the site this month is Longing, and I think your films capture that feeling so well, and I have to ask a Virgin Suicides question because—
OK! I love that you brought it to a whole new audience! When I met Leslie Mann for this movie she said, “Oh, my daughter loves The Virgin Suicides,” and I thought, How does she even know about that? She wasn’t even born then! And it’s through you, so—
Ah!
That movie didn’t have a big audience when it came out, so I’m happy that it lives on.
Oh my gosh—girls WORSHIP it. It’s like…it comes up so much when we meet our readers. When you read the book, what resonated with you? Because it’s a lot about feeling kind of locked up at home in the suburbs—that’s where the characters are. And I think your life must have been somewhat different. Were you just kind of fascinated by them? Or was there something that you related to about that feeling of being kind of closed in?
I can’t remember, it was so long ago! [Laughs] But I loved [Jeffrey Eugenides's] writing, and I felt like I could be there with [the Lisbon sisters]. I really loved how the boys were looking at the girls and the girls had this kind of power and mystique over them. I think when you’re that age you’re kind of playing with that power, and trying to understand it. I liked how the girls were playing with the boys confusion about them, and also how girls could get stuck in lives that were too small or confining for them.
I know you make moodboards and little mood books when you’re getting started on a film. Are there any images or influences that come up repeatedly?
Oh, usually they’re pretty different. I think if you see them, you can see a connection, because it’s my sensibility, but they always have a different feeling. But whenever I look at them after I finish a movie, I’m always surprised that they look like the feeling of the movie. I’ll have to find the Virgin Suicides one for you. There’s a photographer called Bill Owens that did photos of ’70s suburbia that were references for The Virgin Suicides. Do you have that book?
No.
It’s called Suburbia. There’s a picture of a girl and some kids at a high school dance with little tinfoil stars hanging over them, which was what I looked at for that [homecoming] scene. And then for this one, Claire [Julien], the blond girl in The Bling Ring, she has these pictures on her Facebook of her in a pink bikini with, like, lots of attitude. So that [moodboard] was stuff like that and shots of the night sky with the twinkly lights in the distance.
I read that you made zines as a teenager. What were they like, and what is it like looking back on them?
Jeans?
Zines. Sorry!
Oh, no—because you know I had a little clothing line with a friend? I helped with X-Girl and then I did my own little line. It was like T-shirts that we put graphics on. But it was back when there wasn’t anything really between generic Gap and fashion—there wasn’t anything with a personality that wasn’t expensive—so we thought it would be fun to design our own. But…I think I have to go, Tavi, because I have an appointment.
That’s OK! Thank you so much!
Aw, thanks! I’m happy to do something with you, and thanks for all your support.
Of course! Thank you—our readers will be so excited!
Thank you!
All right!
Have a good summer! ♦
http://rookiemag.com/2013/06/sofia-coppola-interview/
Girls With Power and Mystique: An Interview with Sofia Coppola by Tavi
Sofia Coppola has written and directed some of my favorite movies—The Virgin Suicides, Lost in Translation, Marie Antoinette, Somewhere—and has now blessed us with a fifth movie, The Bling Ring. Based on a Vanity Fair article about a pack of L.A. teens who burglarized celebrity homes a few years ago, it avoids feeling preachy in a WHAT’S THE MATTER WITH KIDS TODAY? way, instead getting its point across by leaving you in utter disbelief with an unnerving sense of discomfort. The Bling Ring doesn’t try to have its cake and eat it too by excusing pervy shots as commentary (the way I think Spring Breakers did). It’s subtle and clever, and I want see it again and again. Sofia generously spoke to me last week about the film, her moodboards, and this new internet wave of Virgin Suicides love. (Note: The phone connection was not great but somehow the zines/jeans confusion worked out.)
TAVI: I’ve read some reviews of The Bling Ring that are like IT’S A CRITICISM OF OUR LIVES, but when I interviewed Emma Watson she said she felt it was filmed in a nonjudgmental way, and I kind of felt that way when I saw it, so I would just like to ask you: How did you want your audience to feel?
SOFIA COPPOLA: I saw this culture growing and growing, so I wanted the audience to experience it for themselves, and by the end of [the movie] to think about what’s important to them and how they feel about it—not to tell them what to think.
Right. Did you find it hard to do that without glamorizing that culture?
Yeah, I wanted to see it through their point of view, to understand how they got so into it. I wanted, in the beginning, to shoot all of this stuff in a really seductive way and make it look fun—you want to be able to be part of it so you understand where they’re coming from. But then by the end of it, you kind of have a shift and take a step back and, you know, kind of look at it.
A lot of your movies can be kind of critical of these different examples and settings of privilege and glamour and fame, but you kind of have to operate within that realm to make the art you want to make, to make films. How do you reconcile that, and what makes it worth it?
It’s important for me to promote my movies, so I do press that’s about promoting my work—which is really different from promoting oneself. I wouldn’t do press just about myself. The side of our tabloid culture that these kids are so into, for a lot of those people it’s more about just being famous and being personalities—which is so different from people that are being celebrated for what they’ve accomplished.
I read an interview with Emma where she was like, there’s a difference between people who are celebrated for actually doing things and making art, and [the ones who do it to] be trendy.
To me that’s a more recent phenomenon. We didn’t have that when I was growing up.
Why do you think that is?
It seems like it’s from reality TV and social media—this idea that kind of anyone and everyone can be famous. It’s just such a big part of our life now.
I read one interview where you said that you felt that there weren’t many movies for teens like The Bling Ring—movies that carefully consider cinematography or have any visual ambitions. Did you feel that was missing when you were a teen? Like, is that something that you noticed and wanted even then?
You know, I loved John Hughes’s movies, and I connected to those movies. But a lot of the movies that were made for teenagers were really, um, dorky and unsophisticated. And I feel like kids are more sophisticated and thoughtful than the [movie] studios give them credit for. I remember them worrying about The Virgin Suicides, like, girls are going to see it and they’ll kill themselves. They didn’t understand that teenagers are…it’s a time when you’re just focused on thinking about things, you’re not distracted by your career, family, you know. It’s a thoughtful time. There’s a tradition that I love, movies like Over the Edge and Foxes—which I was thinking about when I made this movie—that had a real spirit and felt real and authentic to that age. Or Rumblefish, my dad’s movie that was like a teenage art film. I like that you can make a teen movie that has beautiful photography and try to approach it in an artful way. I feel like that’s not that common.
So many of your movies of your movies are about teenagers. What continually draws you to them as subjects?
I always like characters who are in the midst of a transition and trying to find their place in the world and their identity. That is the most heightened when you’re a teenager, but I definitely like it at the different stages of life. I like stories where the drama comes more as an internal part of the character as opposed to from outside forces that make you change. I wasn’t planning to do a movie about teenagers, but when I read the [Bling Ring] story it felt like it had all of the elements of a movie that would be fun and exciting but also disturbing. I was thinking about that part of our culture, which I thought people weren’t really talking about. I thought it was something timely to talk about.
Usually in your films there’s an ingénue who’s just so immediately likable that you just want to watch her, but The Bling Ring is kind of different. How did you approach that relationship this time?
Yeah, I thought, How am I going to make a movie where the characters are so unsympathetic? Usually there’s a girl or a character that I connect with and see part of myself in, and in this one I didn’t. It was really a challenge to find a way to tell the story in a way that would engage you, ’cause if you don’t care about the characters how can you get into it? But then I met [Nick Prugo], and I thought he was really the most sympathetic one—you could understand how he could have gotten caught up in this group and why he wanted to be a part of it. I remembered being that age and, you know, you do things you wouldn’t do as an adult because you want the excitement of feeling like you’re part of something.
So our theme on the site this month is Longing, and I think your films capture that feeling so well, and I have to ask a Virgin Suicides question because—
OK! I love that you brought it to a whole new audience! When I met Leslie Mann for this movie she said, “Oh, my daughter loves The Virgin Suicides,” and I thought, How does she even know about that? She wasn’t even born then! And it’s through you, so—
Ah!
That movie didn’t have a big audience when it came out, so I’m happy that it lives on.
Oh my gosh—girls WORSHIP it. It’s like…it comes up so much when we meet our readers. When you read the book, what resonated with you? Because it’s a lot about feeling kind of locked up at home in the suburbs—that’s where the characters are. And I think your life must have been somewhat different. Were you just kind of fascinated by them? Or was there something that you related to about that feeling of being kind of closed in?
I can’t remember, it was so long ago! [Laughs] But I loved [Jeffrey Eugenides's] writing, and I felt like I could be there with [the Lisbon sisters]. I really loved how the boys were looking at the girls and the girls had this kind of power and mystique over them. I think when you’re that age you’re kind of playing with that power, and trying to understand it. I liked how the girls were playing with the boys confusion about them, and also how girls could get stuck in lives that were too small or confining for them.
I know you make moodboards and little mood books when you’re getting started on a film. Are there any images or influences that come up repeatedly?
Oh, usually they’re pretty different. I think if you see them, you can see a connection, because it’s my sensibility, but they always have a different feeling. But whenever I look at them after I finish a movie, I’m always surprised that they look like the feeling of the movie. I’ll have to find the Virgin Suicides one for you. There’s a photographer called Bill Owens that did photos of ’70s suburbia that were references for The Virgin Suicides. Do you have that book?
No.
It’s called Suburbia. There’s a picture of a girl and some kids at a high school dance with little tinfoil stars hanging over them, which was what I looked at for that [homecoming] scene. And then for this one, Claire [Julien], the blond girl in The Bling Ring, she has these pictures on her Facebook of her in a pink bikini with, like, lots of attitude. So that [moodboard] was stuff like that and shots of the night sky with the twinkly lights in the distance.
I read that you made zines as a teenager. What were they like, and what is it like looking back on them?
Jeans?
Zines. Sorry!
Oh, no—because you know I had a little clothing line with a friend? I helped with X-Girl and then I did my own little line. It was like T-shirts that we put graphics on. But it was back when there wasn’t anything really between generic Gap and fashion—there wasn’t anything with a personality that wasn’t expensive—so we thought it would be fun to design our own. But…I think I have to go, Tavi, because I have an appointment.
That’s OK! Thank you so much!
Aw, thanks! I’m happy to do something with you, and thanks for all your support.
Of course! Thank you—our readers will be so excited!
Thank you!
All right!
Have a good summer! ♦
http://rookiemag.com/2013/06/sofia-coppola-interview/
Another interesting read. I liked the part when she talked about creating moodboards before shooting a movie. The visual aspect is something that I always really enjoy from her films, she's one of the few directors, who is able to create memorable images and suggestions. I saw a couple of photos by Bill Owens and the references of his work in The Virgin Suicides is quite obvious.
Not Plain Jane
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Here are some Sofia videos; sorry if any are doubles:
1. At the Women in Film Festival
2. Interview @ Cannes
3. Independent Spirit Award presentation for Harris Savides
4. Brief one:
1. At the Women in Film Festival
2. Interview @ Cannes
3. Independent Spirit Award presentation for Harris Savides
4. Brief one:
Label Basher
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^ Fantastic Cover. She looks gorgeous. Can't wait to see what's inside.
Label Basher
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^ ooh both of them look good. Have we seen that navy dress before?
Not Plain Jane
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Nice pic with Emma, and such a gorgeous cover too!
