Sofia Coppola and acclaimed costume designer Milena Canonero ignited a captivating conversation at the Venice Film Festival on September 1, 2023. This discussion marked the launch of Cartier’s annual program focused on the art and craft of cinema. The two discussed their enduring partnership, which spans several decades and includes notable projects such as Marie Antoinette and The Cotton Club.
Their collaboration began when Francis Ford Coppola took over the direction of the 1984 film The Cotton Club. Canonero, who had been attached to the project before Coppola’s arrival, was thrilled when the director chose to retain most of the existing craft team. “I met Milena when I was 11 or 12 years old on my father’s film,” Coppola recalled. “I would always love to come to the studio after school and see what they were making. I spent a lot of time in the costume department because it was always magical.”
Canonero shared her memories of young Sofia visiting her workshop, noting how the two quickly bonded. “She wanted to see everything and was often there during the shooting… we clicked right away,” Canonero said. Their professional relationship deepened as Canonero created costumes for Coppola’s projects, including Godfather III, before culminating in Marie Antoinette.
Coppola explained that Canonero was the perfect choice for her first period film, given her Oscar-winning work on Barry Lyndon. “Her approach is always really unique, and she brought so much style to the film,” Coppola stated. The director aimed to create a vibrant and contemporary representation of the 18th century, moving beyond traditional historical portrayals. “I knew that Milena would help me make what I had in mind and bring a fresh eye to this time,” she added.
The conversation also revealed insights into the creative process behind Marie Antoinette. The film’s color palette drew inspiration from a collection by designer Marc Jacobs, specifically the pastel shades of macarons. “We decided to make our own costumes, and not rent them,” Canonero explained. “Sofia came to visit and arrived with an enormous box of macarons.”
While Canonero did not explicitly state that these colors would dictate the palette, Coppola expressed her preference, which ultimately guided the costume designer’s choices. “I principally focused on those colors throughout the whole range of the movie,” Canonero noted. “In the macaron, you go from very pale pastel to dark chocolate to noir, black. So I had the whole palette in front of me, and it was a good idea.”
Despite its mixed reception upon its premiere at the Cannes Film Festival in 2006, Marie Antoinette has gained appreciation over time. Coppola herself referred to the film as “a flop” after its lackluster box office performance. Nevertheless, a younger audience at the Venice event showed enthusiasm, applauding the clips and eagerly capturing photos of the two icons on stage.
In an exciting update, Coppola mentioned that a restoration of Marie Antoinette is planned, which could introduce the film to new viewers. During the discussion, excerpts from Barry Lyndon highlighted Canonero’s work, including a scene referencing Coppola’s earlier film, Priscilla.
When asked about her favorite works by Coppola, Canonero expressed admiration for The Virgin Suicides, the director’s debut film. “It’s not only because it’s Sofia’s first movie but it’s also excellent, top class,” she stated. “She not only brings to the audience the sickness of youth, the mystery of growing up… it was quite bewildering.” Canonero also praised Lost in Translation for its subtlety and depth, acknowledging Coppola’s unique ability to capture nuanced themes.
The conversations surrounding craft and cinema will continue throughout the Venice Film Festival, featuring dialogues with other prominent figures, including Sergio Castellitto and screenwriter Margaret Mazzantini, along with Alfonso Cuarón and cinematographer Michael Seresin. These discussions not only celebrate the artistic achievements of filmmakers and designers but also reinforce the importance of collaboration in the creative process.
