
Inside Chanel's Star-Studded Tribeca Festival Artists Dinner
The guest list featured both up-and-coming multi-hyphenates and industry legends, including Sofia Coppola, Blake Lively, Allison Janney, Lucy Liu, Mariska Hargitay, Louisa Jacobson, Chase Sui Wonders, Joe Jonas, Molly Gordon, Laufey, Alisha Boe, Nico Parker, Maude Apatow, Olivia Munn, Christy Turlington, Jon Hamm, Lily James, Robert De Niro, and more.
Inside The Odeon, candlelit tables and white florals set the mood as guests mingled and posed for photos. The evening unfolded over dinner and conversation as the event honored this year's class of contributing visual artists—selected by curator Zoe Lukov—whose original works were presented to the 2025 Tribeca Festival filmmaker award winners. The lineup included Alteronce Gumby, Faith Wilding, Jane Dickson, Jeffrey Meris, Lauren Halsey, Marilyn Minter, Naudline Pierre, Raúl de Nieves, Simphiwe Ndzube, and Tuan Andrew Nguyen. The full collection will be on view at the Tribeca Festival Hub at Spring Studios.
Chanel's continued partnership with the Tribeca Festival underscores its enduring ties to the world of art—a legacy that traces back to founder Gabrielle Chanel's deep connection to the creative vanguard of her time. Scroll through for a look inside the dinner, below.
Moriel is the editorial and social media assistant at ELLE.com, covering celebrity, culture, and fashion. She previously wrote for The Daily Front Row. When she's off work, you can find her with her nose in a book, taking a dance class, or online shopping.
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Vogue
4 hours ago
- Vogue
From the Archives: Kirsten Dunst as the Young Queen in Sofia Coppola's Film Marie Antoinette
'Teen Queen,' by Kennedy Fraser, was originally published in the September 2006 issue of Vogue. For more of the best from Vogue's archive, sign up for our Nostalgia newsletter here. Sofia Coppola's film Marie Antoinette, covering the nineteen years that fabulous and tragic woman spent at Versailles, created a sensation when it opened earlier this year in France. It was filmed largely on location in the palace, with unswerving support from the directors of the museum. For the two leading actors—Kirsten Dunst as the young queen and Coppola's cousin Jason Schwartzman as King Louis XVI—it was a transformative experience to walk in rustling silk and tapping heels through halls filled with ghosts. For Dunst, exquisitely but unstuffily costumed by Milena Canonero (who deserves an Oscar for this work), it was a very sensual role. 'You breathe differently in those dresses; you move in a special way,' Dunst says. To prepare herself, on the night a scaled-down crew was filming her in the emotionally charged balcony scene, she walked alone through the palace in the dark. 'I could look in those mirrors,' she says. 'Be still in myself. Feel my place in that house.' It is Coppola's third full-length film, after The Virgin Suicides and Lost in Translation. With a $40 million budget, it is by far her most ambitious project. She was aware that her subject is controversial—that people, especially in France, either see the queen as a saint and martyr or really, really hate her. But Coppola forgot about all that and brought her own Marie Antoinette to life. In her film, history is seen from a very feminine young woman's point of view. In the director's mind it forms a trilogy with the previous two films, exploring the theme of young women discovering who they are. The queen's love of fashion particularly interested her. 'You're considered superficial and silly if you're interested in fashion,' Coppola says. 'But I think you can be substantial and still be interested in frivolity. The girl in Lost in Translation is just about to figure out a way of finding herself, but she hasn't yet. In this film she makes the next step. I feel that Marie Antoinette is a very creative person.' In 1770, the fourteen-year-old Archduchess Marie Antoinette left her home in Austria and traveled to meet her fifteen-year-old fiancé, the dauphin, heir to the throne of France. She was an attractive little thing, with blonde hair, blue eyes, a fine pale skin, and the pouting Hapsburg-family lower lip. She was the fifteenth child of a formidable mother, the Empress Maria Theresa, who led her huge empire so efficiently that she went on reading state papers while she was giving birth. At the last minute it had been discovered that the future bride (who liked dancing and playing with children and dolls) could barely read and write. Her mother arranged for a crash education and a makeover, including cosmetic dentistry, a less provincial hairdo, and a complete new wardrobe of French-style clothes. Then the girl rolled through the forest in a special gilded coach with gold roses (symbol of the Hapsburgs) and lilies (symbol of the Bourbons) nodding in a topknot on the roof. Behind the huge glass windows she was like a jewel in a padded case. From now on, her mother had warned her, all eyes would be upon her, and she should do what she was told. Maria Theresa had anxious premonitions; her girl was lively and affectionate in nature but had the attention span of a flea.


San Francisco Chronicle
16 hours ago
- San Francisco Chronicle
‘I wasn't going to show the violence': S.F.-raised Eva Victor on ‘Sorry, Baby'
Eva Victor was back in their hometown, the final stop on a press tour for their critically lauded debut feature, and they were ready to party. But first, Victor, who uses they/she pronouns, demanded perfect attendance during a Q&A on Tuesday, July 1, after a crowded screening at the Alamo Drafthouse New Mission theater of ' Sorry, Baby,' which Victor wrote, directed and stars in. 'Good night!' Victor said to laughter as a couple was walking out just as the discussion got started. 'If you leave, I will call you out, it will be horrible for you. Don't leave!' Victor, best known for a recurring role in the Showtime series ' Billions,' is trained as a comedian; they have performed at SF Sketchfest when they were with the satirical website Reductress and was very entertaining as they discussed 'Sorry, Baby.' But while the movie has sharply funny moments, it is a serious and unique drama about Agnes (Victor), a woman processing a sexual assault — called 'the bad thing' — and her life-saving friendship with Lydie (Naomi Ackie of ' Blink Twice ' and ' Mickey 17 '). While Victor insists the film, which counts Barry Jenkins (' Moonlight ') as a producer, is 'narrative fiction,' it is based on an incident they experienced and admitted to the audience, 'I made this film about a time and experience when I felt very unheard, and it means the world for you to be here and listen to what I have to say.' Hours earlier, during a Chronicle interview at the 1 Hotel, Victor said, 'I really wanted to write a film about trying to heal. … It was a real joy to fictionalize an emotional truth in my life.' Victor was born in Paris, but their family moved to San Francisco when they were 2. They went to the International School from kindergarten through 12th grade before going to theater school at Northwestern University. This conversation has been edited for length and clarity. A: When I was a kid, we lived in the Marina, and my favorite place to go was on a walk to Crissy Field, go to the Warming Hut, get a cup of cocoa. That's a nice spot. Q: Did you enjoy school? A: It broke my brain, and I still don't know if I've recovered. The best part of it was my junior year of high school. I started doing theater, and that was amazing because (Berkeley-based actor) Michelle Haner was my teacher, and I was in 'Spring Awakening,' the musical, and my director was Brad Korman. They were both incredibly supportive teachers and treated me like an adult and took me seriously. And that made me want to go to theater school as a college student. So I'm very grateful for them. Q: How in touch are you with your French heritage? A: I would love to get French citizenship. Once I got a job on a TV show, I got to have a little more money so I could go to France. I feel very, very connected to Paris. It was very fun to go to the Cannes Film Festival (in May). I think it's beautiful, and I would love to spend more time there. Q: Your previous directorial experience consists mainly of comic videos you made on social media. How did you come to direct 'Sorry, Baby'? A: It was definitely intimidating. I didn't want something to get lost in me taking on too much. I wrote this really privately, just in a house by myself with my cat, and I was desperate for someone to read it, like I didn't want to be alone with it. I really wanted to act in the role, and I thought, 'Well, we can hire someone to direct it.' Then I went to think about it for a month or so and quickly realized I desperately wanted to direct it. I just needed to figure out how. So I spent a couple of years preparing to direct in various ways. I knew how I wanted it to look and feel. I just needed to learn how to communicate that to heads of department, who will then ideally challenge you on your vision. The nice thing about directing the film is you spend a lot of time building the film with other people, and then you shoot it and direct it. It's like this really long journey of creation together. Q: A key casting choice was who would play Lydie. How did you find Naomi? A: We met, and she was just such a warm ray of light. I'd seen ' Lady Macbeth ' (2016) and the Whitney Houston movie (2022's ' Whitney Houston: I Wanna Dance With Somebody '). I was so overwhelmed by how goofy she was. The universe sent her to me, and on set, it just clicked. Q: You chose not to show 'the bad thing' but instead show her walking into the place where it happened, then later walking out. Why? A: I always knew I wasn't going to show the violence. It was for a person like I was who couldn't sit through a film like that; it would turn my body into shock mode, and I didn't want to put anyone through that. Her body goes in, but I don't think her spirit does. I think this might be more of a memory of what that experience was like. It's frozen and disconnected. So it's kind of out of body.


Chicago Tribune
a day ago
- Chicago Tribune
Letters: Title of exhibition at the Art Institute smacks of whitewashing
As a longtime supporter of the Art Institute of Chicago and an admirer of Gustave Caillebotte's work, I must express my profound disappointment with the institute's decision to rename the recent joint exhibition — originally titled 'Painting Men' at the Musée d'Orsay and the Getty Museum — to the sanitized and evasive 'Painting His World' here in Chicago. Having visited the d'Orsay's presentation last fall, where 'Paris Street; Rainy Day' — a masterpiece shared between Chicago and Caillebotte — stood as a centerpiece, I was struck by the French curatorial approach: thoughtful, honest and open to interpretation. The title 'Painting Men' was not an imposition or a presumption; it was an acknowledgment of the artist's lifelong preoccupation with the male figure, urban masculinity, and male intimacy in public and private spaces. By contrast, the Art Institute's retitling feels like a disappointing act of erasure. The new title not only dulls the edge of inquiry but reinforces the notion that recognition of queerness — or even ambiguity — in an artist's work must be neutralized for the comfort of a presumed audience. Equally troubling was curator Gloria Groom's response during Thursday night's member preview, in which she dismissed any exploration of Caillebotte's possible queerness by claiming she would not 'presume' his sexuality. Yet acknowledging that Caillebotte painted men — overwhelmingly, repeatedly and with intimacy — is not presumption. It's fact. What the French curators did so well was allow space for interpretation without fear, offering viewers the dignity of their own intelligence. Chicagoans deserve better. We should not shrink from critical engagement or whitewash complexity in the name of palatability. It's disappointing to see the Art Institute — once a beacon for cultural leadership — kowtow to imagined donor discomfort or a conservative fear of thought-provoking conversation. Let's trust our audiences, as the French have, to explore the fullness of an artist's world — including the people who populated constructive criticism by Edward Keegan in the Tribune ('Chicago Fire stadium plans cry out for a bit of quirkiness,' June 25) regarding the design of the new soccer stadium and the surrounding land referred to as The 78 in Chicago's South Loop prompts reflection on the many proposals for this land development, the Bears' new stadium and the possible new home for the White Sox. The design of the stadium and surrounding area offers a breath of fresh air in a city teeming with ideas but coming up short on the delivery. As a self-made man, Fire owner Joe Mansueto will fund this project with his own money as he has done with other projects mentioned by Keegan in the column. No whining. No pouting. No expectation of state funding nor Chicago resident tax dollars to build a private stadium for a soccer team. Yes, it differs from a traditional look in the stadium world. Open to criticism, the Gensler firm has presented a solid design. No political shenanigans. No groveling. A proposed start and finish date with a realistic budget. Rising above the need for a pat on the back, Mansueto has demonstrated the fortitude required to bring a solid idea to fruition with proper funding. Residents owe Mansueto our backing and a thank you for a job well has gotten a lot of bad press lately. As a lifelong Chicago-area resident, I would like to share some positives about a recent experience of mine. Last month, I walked from the West Ridge neighborhood to downtown and back — about 26.2 miles, or the distance of a marathon. I zigzagged through many neighborhoods, going through parks and streets. The street market in the Logan Square neighborhood went on for about a half mile. The stalls were packed with fruits, veggies, ethnic cuisine and even morel mushrooms. The music was lively, and the people were friendly. No police officers. As I approached, Humboldt Park was bustling with families out walking, kids playing ball and lovers holding hands. The park is where my parents courted in the 1940s. In my mind, I was able to picture them having a great day in the park. Part of the allure of this neighborhood is Humboldt Boulevard — gazing at the old mansions and churches that were once Jewish synagogues. I eventually headed to the United Center and then east. I can see how this neighborhood, once decimated by the riots of 1968 following the assassination of the Rev. Martin Luther King Jr., has been transformed. The cafes and stores bustle with people of all ages. The West Loop is alive and well. In the 1970s, this was not possible. Once I got downtown, it was crowded for a Sunday. I headed back north, going through the North Side neighborhoods of Bucktown and Old Town. Some of the side streets are lovely, with a canopy of trees over the streets, beautiful gardens and the ever-present Chicago black wrought-iron fences. Going through Wrigleyville on a game day will always be an experience unto itself. The crowds gathered outside the ballpark were covered in Cubs wear. There were vendors selling water, peanuts, shirts and hats. The streets of Clark and Addison were blocked off, so it was like a street fair. The cops were friendly and helped tourists take pictures of the marquee. Then on to the Lakeview, Lincoln Square and Budlong Woods neighborhoods before returning to West Ridge. They were mostly subdued compared to the other areas that I covered, but they were all well kept up and clean. The city itself never looked better, and the people of this city do appreciate all that Chicago has to offer. There is an abundance of neighborhood parks in which everyone can enjoy a drink from a water fountain or a splash from it to cool off.I read that Mel Brooks just turned 99 years old. Maybe laughter is the best medicine.