#5. Dresses like cakes: worn during Marie Antoinette’s party years in Versailles.
Allusions to macaroons, pastries and sweets occur frequently throughout the film: food is used as an actual prop but also hinted at in dialogues, music and costumes. In the scenes depicting Marie Antoinette’s parties and shopping sessions in Versailles, her costumes are dessert-like in their choice of color and even in cut. The range of colors is now more shocking with bright yellow, pink and blue combinations. The gowns are also bolder in shape, with deeper décolletages and daring garnish.
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"At the start of pre-production, Coppola handed Canonero a box of pastel-coloured macaroons from the Ladurée pastry house. “She told me, ‘These are the colours I love’,” recalls Canonero. “I used them as a palette. Sofia was clear about the colouration, but left the rest to me. We squeezed the essence of the period, without reproducing it. Even if you think you know a lot about it,” she argues, “you always have to look for a new angle. I simplified the very heavy look of the 18th century. I wanted it to be believable, but more stylized.”
"Sofia is a bit like me in that she is most interested in the feeling that a costume gives to the audience, so some of our work in Marie Antoinette is symbolic, some of it is stylish and some of it is psychological. There is always a reason for a particular texture or colour. Sofia wanted a richness and a freshness for Marie Antoinette and the clothes need to show her evolution from a very young girl to a sophisticated woman. You see through her dresses how she gains more confidence and even her décolletage becomes more emphasized.” - Milena Canonero
On April 19th, 1770, Archduchess Maria Antonia Josepha Johanna of Austria was married by proxy to the Dauphin of France, Louis-Auguste. The ceremony took place in the Augustinian Church in Vienna, the same place that the bride was baptized, and her older brother, Archduke Ferdinand, stood in for the groom.