Discover the fascinating collaboration between Sofia Coppola and costume designer Milena Canonero, as they discuss their artistic journey and the creation of costumes for Marie Antoinette.
Sofia Coppola & Milena Canonero: A Timeless Collaboration
Sofia Coppola and renowned costume designer Milena Canonero, an Oscar winner for her work on Barry Lyndon, Chariots of Fire, Marie Antoinette, and The Grand Budapest Hotel, inaugurated Cartier’s annual conversations on the art and craft of cinema at the Venice Film Festival.
A Lasting Connection
Their decades-long connection began when Francis Ford Coppola took over the direction of the 1984 musical film The Cotton Club. Canonero, who was already attached to the project, expressed her joy when Coppola decided to retain most of the craftspeople.
“I met Milena when I was 11 or 12 years old on my father’s film The Cotton Club,” recalled Coppola. “I loved visiting the studio after school, especially the costume department, which felt magical. Milena was creating incredible costumes, making it a beautiful memory.”
Building a Bond
Canonero noted that while Coppola’s brothers would visit her workshop, it was Sofia with whom she formed a special bond. “She wanted to see everything and was often present during the shooting… we clicked immediately. I created more films with Francis and had the pleasure of designing costumes for Sofia in Godfather III. I was deeply moved when she asked me to design for Marie Antoinette.
Designing Marie Antoinette
Coppola chose Canonero for her first period film due to her Oscar-winning work on Barry Lyndon. “Milena’s unique approach brought style to the film. I wanted it to feel alive and fresh, not like a dry historical piece. I knew she would help realize my vision,” said Coppola.
They decided to create their own costumes instead of renting, setting up a workshop in Rome. Canonero recalled, “Sofia visited with a huge box of macarons. She subtly suggested the color palette by saying she liked those colors.”
The colors, inspired by macarons, were not out of place in the 18th century, allowing Canonero to focus her choices throughout the film. “The macaron palette ranged from pale pastels to dark chocolate, giving me a comprehensive color scheme,” she explained.
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Reception and Legacy
Marie Antoinette received mixed reviews at its Cannes premiere in 2006 and struggled at the box office, with Coppola later calling it “a flop.” However, it has since gained a devoted following, with young audiences applauding the clips during the conversation. Coppola also mentioned plans for a film restoration.
During the discussion, they showcased Canonero’s work, including a scene from Barry Lyndon, which Coppola referenced in Priscilla. When asked about her favorite Coppola works, Canonero highlighted an extract from The Virgin Suicides, praising its excellence and emotional depth.
“This film is a classic, just like Lost in Translation. Sofia captures subtle subjects that many directors struggle with,” Canonero concluded.
The conversations continue at the Venice Film Festival, featuring dialogues with other prominent filmmakers.
