Once upon a time Marie Antoinette’s left breast served as a template for the first champagne coupe. Today, we have Kate Moss.
In celebration of 25 years of the most defining model of our era, London restaurant 34 commissioned artist Jane McAdam Freud (daughter of Lucien) to create a mold of Moss’s breast for a new and quite intimate collaboration with Ms. Moss.
Moss was delighted to lend her boob to the project. Said the reigning waif: “I was excited to participate in this project — what an honour to be alongside Marie Antoinette — she was a very intriguing and mischievous character… champagne is always associated with celebration and happy occasions and I had fun creating this beautiful coupe.”
Moss will be in attendance when the glasses are introduced at 34 and its sibling restaurants, The Ivy, Daphne’s, and Scott’s in early October.
As the daughter to one of cinema’s most treasured directors, filmmaking was in Sofia Coppola’s blood. And after beginning her career as an actress when she was just an infant in The Godfather, Sofia continued working in films well into her twenties, making appearances in everything from The Outsiders and Frankenweenie, to Peggy Sue Got Married and The Godfather Part III. But in 1998 she made the leap over to filmmaking with her short film, Lick the Star before embarking on her directorial debut The Virgin Suicides. Not only does that film hold up as one of her greatest cinematic achievements, but it established her own auteuristic aesthetic.
With each of her films, Coppola brings you into her unique world with an atmospheric style that’s full of melancholy but always delicate and beautiful and impeccably scored. Whether she’s telling the tale of fantastical depressive teens or lavish 18th-century royalty, there’s always a touch that feels distinctly hers. It’s a soft-lit dreamy quality with a heavy-heart and weary eye, that has proved she is much more than just Francis Ford’s daughter.
And as today is Sofia’s birthday, we’ve rounded up some memorable moments from her oeuvre of gorgeous films. Enjoy.
Sofia Coppola’s films are ethereal beauties whose aesthetic precision and delicacy mirror the emotionally languid sensibility of her characters. And since her directorial debut with The Virgin Suicides, Coppola’s auteuristic vision has been impressed upon the rest of her work, making her films an extension of her own refined yet sensitive and perceptive demeanor. Infused with an atmospheric haze of melancholy that’s both washed out yet rich with purpose, whether she’s telling the story eccentric teenage girls longing to break free or detached men searching for purpose, her soft palette and pink-lit dreamy aesthetic is always achingly beautiful.
Speaking to Coppola’s use of the color pink, in an article mainly about the iconic underwear in Lost in Translation, it’s been said that:
For Coppola, pink isn’t a color so much as a feminine stop-loss between being young and being happy. In The Virgin Suicides, pink was the air of impenetrability that covered the Lisbon girls like an irremovable veil. In Marie Antoinette, pink arrived as tiered cakes and frivolous attitude, humanizing a young queen entrusted with an angry nation, and in Somewhere, which was effectively a man’s tale, Coppola personified the color into a character, allowing it to grow and take its ultimate form in the shape of a Fanning sister. Johnny Marco’s daughter personified the best of himself that he had allowed to wither, sacrificed to a world intent on using him up. For these women, pink is a problem to be solved or make public, a private ideal they struggle to preserve and share.
But these fantastically wonderful images that speak volumes about Coppola’s nature as a filmmaker would be far less memorable without her keen eye for pairing the perfect music with a moment. So with The Bling Ring out in theaters this weekend, let’s look back on some of Sofia’s most stunning moments through pictures from her work, alongside the scores that elevated them to something even more magical.