ソフィア・コッポラが選ぶ映画メイクのお気に入り5つ

Filmmaker Sofia Coppola’s understanding of feminine beauty and its potentially devastating power is unparalleled. From her first feature film – The Virgin Suicides, where the four Lisbon sisters with their prim, tucked blonde hair and comely nighties beguiled the neighbourhood boys long into adulthood – to her latest – Priscilla, a biopic of Elvis Presley’s famously beehived wife, who’d unwittingly enchanted the singer as a 14-year-old Catholic schoolgirl – Coppola’s entire back catalogue charts the palpable transitions in girl- and womanhood with exquisite wonder and attention to detail.

The director’s love of fashion is well-documented. Having never intended to make films like her father, the director Francis Ford Coppola, she interned at Chanel in Paris in the 80s, started up her own cult T-shirt brand, Milk Fed, and put on a guerilla fashion show for Kim Gordon’s indie skater label X-Girl in the mid-90s. She’s worked with Chanel, luxury Scottish cashmere Barrie and her good friend Marc Jacobs on campaigns and commercials since she began directing – so Coppola is no stranger to a branded collaboration. Yet her latest, a tinted lip balm duo with skincare expert Augustinus Bader, makes more sense than most.

A fan of the brand’s low key, not-too-glossy clear balm, Coppola persuaded Bader’s founder to create three tinted iterations, so gentle in their delivery of pigment they are suggestions of shade in dark pink, red coral and plum – appearing to emanate from the lips, they’re more reminiscent of Scarlett Johansson’s nibbled-looking pout and bookish beauty in the director’s Tokyo-set Lost in Translation than a lined and lacquered TikTok look. For Coppola, a make-up look must always unveil more. “She was young and naturally beautiful, she didn’t have much make-up,” she says of lead character Charlotte’s now iconic low-key beauty. “Her character wasn’t supposed to be fussy, she was cool and had other things than vanity on her mind.”

Here, Sofia Coppola talks more about her relationship with make-up. 

AnOther Magazine: What is your first key make-up memory? Why did it last?

Sofia Coppola: My first memory was as a teenager with Chanel make-up – the packaging and shimmery blushes, and shopping for make-up at Monoprix in Paris! My mum didn’t wear make-up except lipstick, so I really went for it in the 80s as a teenager – I was into pale skin and red lips, I loved products from Monoprix, the French discount store, like drugstore make-up – especially Bourgeois.

AM: What’s your favourite character brief you’ve ever given a make-up artist on set? How did you demonstrate what you wanted and how did it work out?

SC: Marie Antoinette was really fun to work on: both the make-up and hair! I had references and worked with [hairstylist] Odile Gilbert and [make-up artist] Stephane Marais who helped create her look. We looked at some Galliano shows, the New Romantics and [Kubrick movie] Barry Lyndon, which served as inspiration.

AM: What is your approach to your own make-up? What items can’t you live without and what are your go-to daytime and evening looks?

SC: I always, without fail, use an SPF with a slight tint and then follow up with the Tinted Balm and Chanel concealer. I also love the Baby Cheeks blushers by Westman Atelier, so if I’m looking to add a hint of colour, I will finish with that. For night, it will be a similar routine but I would also add eyeliner (I like the Chanel waterproof one) and the Westman Atelier Eye Pods.

AM: How did your collaboration with Augustinus Bader come about?

SC: I’ve been hooked on the Augustinus Bader The Rich Cream since I started using it, it feels like a treat. But I’m also a fan of their lip balm – it’s not too shiny or glossy – and thought I’d love a tinted version, so I asked if they’d be open to the idea. I wanted something easy to use on the go, to give a little pick me up. The dark pink is from a favourite discontinued lipstick I used to get at a drugstore in Paris, and red coral is based on a colour I like when at the beach or in summer … and the darker plum for a deep colour that looks like a deeper tint of your lips. Now, The Duo is a pair of the favourites for two moods – the Original clear Lip Balm for a natural feel, and the Tinted Balm in Shade 1, which gives a sheer hint of colour.

Below, Coppola dissects the five make-up movie moments that have lived on her mental moodboard since first viewing. 

“Nastassja Kinski in Tess when she bites into a strawberry and stains her lips. That scene was so memorable – she was so fresh-faced and beautiful, with only the stain of berries on her lips.” 

“In 9 1/2 weeks, Kim Basinger was so womanly, sexy and natural. I was in high school, and I thought she was so grown up and sophisticated. I loved her natural skin with an eyeliner – that mix.” 

“Lauren Hutton’s cool, easy polished look and soft, hot-rollered hair in American Gigolo. She had a cool, effortless glamour, like she just woke up looking like that. Her character had confidence and vulnerability – just a classic look of that era.” 

“Catherine Deneuve in The Hunger – so dramatic and mysterious. I loved her in sunglasses and a black dress with red lipstick.”

“I saw Rita Hayworth in Gilda as a kid, and I was like, ’That’s a woman!’ She was also an idea of a confident adult woman. Her character reveal [stayed with me] – you see her hair first, and then she emerges, she had mystery and that polished 40s beauty.”

The Lip Balm Duo by Augustinus Bader is available now.

Filmmaker Sofia Coppola’s understanding of feminine beauty and its potentially devastating power is unparalleled. From her first feature film – The Virgin Suicides, where the four Lisbon sisters with their prim, tucked blonde hair and comely nighties beguiled the neighbourhood boys long into adulthood – to her latest – Priscilla, a biopic of Elvis Presley’s famously beehived wife, who’d unwittingly enchanted the singer as a 14-year-old Catholic schoolgirl – Coppola’s entire back catalogue charts the palpable transitions in girl- and womanhood with exquisite wonder and attention to detail.

The director’s love of fashion is well-documented. Having never intended to make films like her father, the director Francis Ford Coppola, she interned at Chanel in Paris in the 80s, started up her own cult T-shirt brand, Milk Fed, and put on a guerilla fashion show for Kim Gordon’s indie skater label X-Girl in the mid-90s. She’s worked with Chanel, luxury Scottish cashmere Barrie and her good friend Marc Jacobs on campaigns and commercials since she began directing – so Coppola is no stranger to a branded collaboration. Yet her latest, a tinted lip balm duo with skincare expert Augustinus Bader, makes more sense than most.

A fan of the brand’s low key, not-too-glossy clear balm, Coppola persuaded Bader’s founder to create three tinted iterations, so gentle in their delivery of pigment they are suggestions of shade in dark pink, red coral and plum – appearing to emanate from the lips, they’re more reminiscent of Scarlett Johansson’s nibbled-looking pout and bookish beauty in the director’s Tokyo-set Lost in Translation than a lined and lacquered TikTok look. For Coppola, a make-up look must always unveil more. “She was young and naturally beautiful, she didn’t have much make-up,” she says of lead character Charlotte’s now iconic low-key beauty. “Her character wasn’t supposed to be fussy, she was cool and had other things than vanity on her mind.”

Here, Sofia Coppola talks more about her relationship with make-up. 

AnOther Magazine: What is your first key make-up memory? Why did it last?

Sofia Coppola: My first memory was as a teenager with Chanel make-up – the packaging and shimmery blushes, and shopping for make-up at Monoprix in Paris! My mum didn’t wear make-up except lipstick, so I really went for it in the 80s as a teenager – I was into pale skin and red lips, I loved products from Monoprix, the French discount store, like drugstore make-up – especially Bourgeois.

AM: What’s your favourite character brief you’ve ever given a make-up artist on set? How did you demonstrate what you wanted and how did it work out?

SC: Marie Antoinette was really fun to work on: both the make-up and hair! I had references and worked with [hairstylist] Odile Gilbert and [make-up artist] Stephane Marais who helped create her look. We looked at some Galliano shows, the New Romantics and [Kubrick movie] Barry Lyndon, which served as inspiration.

AM: What is your approach to your own make-up? What items can’t you live without and what are your go-to daytime and evening looks?

SC: I always, without fail, use an SPF with a slight tint and then follow up with the Tinted Balm and Chanel concealer. I also love the Baby Cheeks blushers by Westman Atelier, so if I’m looking to add a hint of colour, I will finish with that. For night, it will be a similar routine but I would also add eyeliner (I like the Chanel waterproof one) and the Westman Atelier Eye Pods.

AM: How did your collaboration with Augustinus Bader come about?

SC: I’ve been hooked on the Augustinus Bader The Rich Cream since I started using it, it feels like a treat. But I’m also a fan of their lip balm – it’s not too shiny or glossy – and thought I’d love a tinted version, so I asked if they’d be open to the idea. I wanted something easy to use on the go, to give a little pick me up. The dark pink is from a favourite discontinued lipstick I used to get at a drugstore in Paris, and red coral is based on a colour I like when at the beach or in summer … and the darker plum for a deep colour that looks like a deeper tint of your lips. Now, The Duo is a pair of the favourites for two moods – the Original clear Lip Balm for a natural feel, and the Tinted Balm in Shade 1, which gives a sheer hint of colour.

Below, Coppola dissects the five make-up movie moments that have lived on her mental moodboard since first viewing. 

“Nastassja Kinski in Tess when she bites into a strawberry and stains her lips. That scene was so memorable – she was so fresh-faced and beautiful, with only the stain of berries on her lips.” 

“In 9 1/2 weeks, Kim Basinger was so womanly, sexy and natural. I was in high school, and I thought she was so grown up and sophisticated. I loved her natural skin with an eyeliner – that mix.” 

“Lauren Hutton’s cool, easy polished look and soft, hot-rollered hair in American Gigolo. She had a cool, effortless glamour, like she just woke up looking like that. Her character had confidence and vulnerability – just a classic look of that era.” 

“Catherine Deneuve in The Hunger – so dramatic and mysterious. I loved her in sunglasses and a black dress with red lipstick.”

“I saw Rita Hayworth in Gilda as a kid, and I was like, ’That’s a woman!’ She was also an idea of a confident adult woman. Her character reveal [stayed with me] – you see her hair first, and then she emerges, she had mystery and that polished 40s beauty.”

The Lip Balm Duo by Augustinus Bader is available now.