Sofia Coppola and acclaimed costume designer Milena Canonero recently reflected on their long-standing artistic collaboration during a conversation at the Venice Film Festival. The event marked the launch of Cartier’s annual program focused on the art and craft of cinema, bringing to light the unique relationship that has flourished since the early days of their careers.
Coppola and Canonero’s connection began during the production of The Cotton Club in 1984. When director Francis Ford Coppola took over the project, Canonero was already attached as the costume designer. She expressed her joy when the director decided to retain much of the existing crew, allowing her to continue her work on the film. “I met Milena when I was 11 or 12 years old on my father’s film The Cotton Club,” Coppola reminisced. “I would always love to come to the studio after school and see what they were making.”
Canonero described her immediate connection with the young Coppola, noting the frequent visits from the filmmaker’s brothers to her workshop, but it was Sofia who truly engaged with her work. “She wanted to see everything and was often there during the shooting… we clicked right away,” Canonero said. Their collaboration continued through projects like Godfather III and culminated in the visually striking Marie Antoinette.
When it came time to design costumes for Marie Antoinette, Coppola recognized Canonero as the perfect choice, particularly given her Oscar-winning work on Barry Lyndon. “Her approach is always really unique, and she brought so much style to the film,” Coppola remarked. The director aimed to create a period film that felt vibrant and contemporary, rather than a traditional historical narrative.
The duo decided to craft original costumes instead of renting them, establishing a workshop in Rome. Canonero shared a memorable moment from this process, recounting how Coppola presented a box of macarons to inspire the film’s color palette. “In a very gentle way, she did not say that it was going to be the palette, but rather, ‘I really like these colors,’” Canonero explained. This suggestion helped Canonero focus her choices, leading to a range of hues that spanned from pale pastels to deep, dark shades, reflective of the macarons.
Despite its mixed reviews at the 2006 Cannes Film Festival and disappointing box office performance, with Coppola describing it as “a flop,” Marie Antoinette has gained a renewed appreciation among younger audiences. During the conversation, attendees reacted enthusiastically to clips from the film, capturing photos of Coppola and Canonero as they reminisced.
Coppola also revealed plans for a restoration of Marie Antoinette, indicating a commitment to revisiting the film’s artistic vision. The discussion included a brief showcase of Canonero’s earlier work, featuring a scene from Barry Lyndon that illustrated the influence of visual storytelling on Coppola’s style.
When asked about her favorite projects with Coppola, Canonero pointed to an excerpt from 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,” Canonero noted. She admired how the film encapsulated the complexities of youth and the enigma of growing up, highlighting Coppola’s unique ability to capture subtle themes.
The conversation series at the Venice Film Festival is set to continue, featuring discussions with renowned figures such as Sergio Castellitto, Alfonso Cuarón, and Jane Campion, further exploring the intricate relationships that shape the world of cinema.