Sofia Coppola’s Light Marc Jacobs Doc

Sofia Coppola and Marc Jacobs have been great friends and occasional collaborators since the 1990s. Fashion writers regularly call her muse. Among other connections, he appeared in an advertising campaign for one of his fragrances in 2002 and directed commercials for his fragrance line in 2014. No one would expect Marc by Sofia, The first documentary of Coppola, to be anything except an admirer and affectionate look at a close friend’s career.

But Coppola movies are always full of fashion and style, more markedly in the caramel color Marie AntoinetteBut everyone else too. And Jacobs has been a great designer for decades, with a career that is worth exploring, so there is much to enjoy in this kinetic movie, colorful, although extremely limited.

The thin narrative trajectory has Coppola after Jacobs in the 12 weeks prior to the show for its spring 2024 collection. There are scenes of it choosing the weight and transparency of the fabrics, but there is not much information about its real creative process. There is much more about the attention of its perfectionist to the details of the preparation of the program. In extreme early planes, we see the false eyelashes in the models that says it wants to be more dramatically pointed and thick.

It is interesting to hear it talk about a parade as “a seven -minute theater piece”, which implies the cast, landscape and staging. But the file video that draws his career and his interleaved comments at all times are much more intriguing. There is an idea of ​​your Senior show at the Parsons School of Design. Briefly, we see Sofia and Marc in the 90s. There are images of her grunge collection for Perry Ellis that was an advance of attention in 1992, and her 16 years as creative director of Louis Vuitton. A recent program of its own line presents models in giant wigs and large structured clothing walking under a giant table, which makes them see the size of the Barbie dolls.

Coppola had enormous access to Jacobs files and has selected images and other sources with their usual sharp eye. She and her editor, Chad Sipkin, have compiled the images in a dynamic style, backed by a buoyant pop music band. The film is often full of rapid cut collage flashes. There is a swirl of vibrant Louis Vuitton bags, which Jacobs recruited the artist Takashi Murakami to create, replacing the brown background and the gold logo of the line and the golden logo with color and infuse the design with a youth energy. It is refreshing to see a documentary so artistic and free of speakers, but that also means that the film simply assumes instead of establishing the importance of Jacobs’s career.

Occasionally, Coppola appears on the screen, but above all it is kept out of the camera and you can ask ask questions. It is revealing to learn about the fashion influences of Jacobs pop culture, from the supreme sequins dresses to Liza Minelli and anything Elizabeth Taylor. Coppola shows the impression of Andy Warhol’s Taylor and a fragment of it in A place in the sun As Jacobs says, “all roads lead to Liz.”

Coppola asked some penetrating questions. Does Jacobs feel that he is working on personal problems through his design career? How do you deal with disappointment after a show? He offers a slight window to his character when he talks about his grandmother’s enormous influence. He lived with her for a while to escape a hard stepfather, and she used to take him as a child to go shopping with her.

However, despite all the access of privileged information, in the end, the episodes behind the scene offer the illusion of intimacy, instead of anything really enlightening. And there are many things on which he will not hear anything, including Jacobs’s personal life, how he built a commercial empire or his license agreements. Marc Jacobs brand fragrances are everywhere, including large boxes of boxes and cosmetic store chains, but this documentary remains focused on high fashion. It is a film of a movie, but also so clearly the style of Sofia Coppola that it is a must for anyone interested in the aesthetics of their career. In that sense, Sofia Sofia It could have worked as a title too.