At the Venice Film Festival, acclaimed director Sofia Coppola and renowned costume designer Milena Canonero shared insights into their enduring collaboration during Cartier’s annual conversations on the art of cinema. Their relationship, which has spanned decades, began on the set of the 1984 musical film The Cotton Club, directed by Coppola’s father, Francis Ford Coppola.
Canonero, who has received multiple Oscars for her work, expressed her delight when Francis Coppola opted to retain most of the existing creative team. “I met Milena when I was 11 or 12 years old on my father’s film The Cotton Club,” recalled Sofia Coppola. “I would always love to come to the studio after school and see what they were making.” She fondly remembered spending time in the costume department where Canonero’s atelier produced stunning costumes, which left a lasting impression on her.
During their discussion, Canonero noted the special bond she developed with Sofia, stating, “She wanted to see everything and was often there during the shooting… we clicked right away.” Their partnership continued as Canonero created costumes for Coppola in The Godfather III and ultimately for Coppola’s vision in Marie Antoinette.
Coppola highlighted Canonero’s unique approach to costume design as a significant factor in her decision. “I wanted to make this period film feel alive and fresh and not like an academic historical piece,” she stated, emphasizing Canonero’s ability to bring a contemporary style to the historical narrative.
A pivotal moment in their collaboration came when they decided to draw inspiration from a collection by U.S. designer Marc Jacobs, which was influenced by the colors of macarons. “We decided to make our own costumes, and not rent them,” Canonero explained. The workshop was set up in Rome, and Coppola contributed to the process by bringing an enormous box of macarons as a color reference. “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 recalled, noting how this input helped shape the film’s visual aesthetic.
Despite receiving a mixed reception upon its premiere at the Cannes Film Festival in 2006, with Coppola later referring to it as “a flop,” Marie Antoinette has gained appreciation over time. An enthusiastic audience at the Venice Film Festival applauded clips from the film, indicating its enduring impact. Coppola also revealed that a restoration of the film is in progress, further solidifying its legacy.
The conversation also highlighted Canonero’s extensive body of work, including a clip from Barry Lyndon, showcasing her influence on cinematic costume design. Canonero expressed her admiration for Coppola’s early works, particularly The Virgin Suicides, which captivated her with its portrayal of youth and the complexities of growing up. “This movie is a fantastic movie forever, it’s a classic,” she remarked, also praising Lost in Translation for its subtlety and depth.
The dialogues at the Venice Film Festival continue with notable pairings, including Sergio Castellitto and screenwriter Margaret Mazzantini, as well as Alfonso Cuarón and cinematographer Michael Seresin. These conversations celebrate the artistry and collaboration that define the film industry, with Coppola and Canonero’s partnership standing out as a testament to creative synergy.
