Written by Thelma Gauthier
Edited by Leah Gilbert
Whether she’s producing Chanel clips or collaborating with the cashmere brand Barrie, securing an exclusive Louis Vuitton bag, or even curating a collection of archives, each more inspiring than the last, Sofia Coppola – hailing from the film industry – stands as a pillar of fashion and style both through her persona and her films.
“Virgin Suicides”
In the director’s movies, visuals play a significant role in conveying the storyline. In “Virgin Suicides,” the five protagonists are dressed in white with blond hair and light makeup, evoking innocence and stoicism, symbolic of the conservative fringe of America in the 1980s.
Fashion wise, the aesthetic of the school uniforms with short skirts, paired with socks and loafers, is a prevalent image.
Lost in translation
“Lost in Translation” encapsulates an exploration of isolation and solitude. Scarlett Johansson effortlessly embodies a nonchalant style, opting for casual jeans and tousled hair. Yet, amidst her laid-back attire lies a paradoxical depth, hinting at her character’s preoccupation with existential musings.
The film’s aesthetic exudes a contemporary allure, intricately interwoven with whimsical Japanese influences. The karaoke scene, with its ethereal pink ambiance, serves as testament to this fusion of styles.
Marie Antoinette
How can one discuss Sofia Coppola’s film costumes without mentioning “Marie Antoinette”? The costumes are meticulously crafted with lace embellishments and elaborate wigs, adorned with pearls, bows, satin, and blush.
The femininity of the era is elevated to its zenith, with meticulous attention and care given to every aspect of the attire, underscoring the significance of appearance, traditions, and even the distinctions between social classes in 1800 France society. For instance, the main character “cosplays” a poor person by dressing more modestly to go to the village, in an attempt to fit in.
Eva Leblanc, a McGill student that loves this movie, describes it as “anachronic” as Marie Antoinette wears converse and includes a change of style when she has an affair. She also explains that the extravagance of the outfits was a way for Coppola to indicate a disconnection between the social condition of the protagonist and her thoughts.
Priscilla
Finally, the director’s latest film to date, “Priscilla,” a biopic about Elvis Presley and his wife, Coppola utilizes clothing as a representation of the 1960s/1970s era where cowboy style, voluminous hair, and structural garments were a prevalent aid in fashion. Priscilla adopts a pinup style, once again, remaining faithful to the era.
Sofia Coppola continually captivates both fashion enthusiasts and cinema lovers alike, weaving her distinctive personal style into her films.
She epitomizes the harmony between fashion and character portrayal, using clothing as a powerful tool for character expression and representation.
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