Sunday 17 October 2010

    Delicious cakes & shoes


    The fantasy of being surrounded by pretty cakes and shoes continues…..

    {Images: Vogue Girl Korea March ‘07 fashion editorial via Girly Bubble}

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    Saturday 16 October 2010

    Let them eat cake!


    Marie Antoinette by Sofia Coppola

    One of my favourite eye candy movies ~ watching it makes me feel like I’ve bathed in pastel coloured icing sugar.

    And the candy coloured costumes, sets and food

    were inspried by the macaroon colors of pinks, gold yellows, and pistachio greens.

    Marie Antoinette loved macaron from young age, she even named her cat Macaron when she was 5 years old.

    From the lavish cakes to the costumes and sets,

    the film transforms the 18th century French court of Versailles

    into what Coppola refers to as

    “a cake and candy world.”

    “The idea was to capture in the design the way in which I imagined the essence of Marie Antoinette’s spirit. So the film’s candy colours, its atmosphere and the teenaged music all reflect and are meant to evoke how I saw that world from Marie Antoinette’s perspective. She was in a total silk and cake world. It was complete bubble right up until the very end.” Sofia Coppola

    “At the start of pre-production, Coppola handed Canonero {costume designer Milena Canonero}

    a box of pastel-coloured macaroons from the Laduree pastry house.

    “She told me, ‘These are the colours I love’,” recalls Canonero. “I used them as a palette.”

    “It was very much a girlish fantasy

    ~ every frame was filled with beautiful flowers, enormous cakes, silk and tassels.” Sofia Coppola

    “So many of our costumes were in the framework of the song I Want Candy. We chose colours and textures that remind you of thinks you would want to eat. We go from very pale and soft to more shocking. You can say we were very influenced by the period but we don’t present a classical vision. It’s more of a fashion statement. At times it was very rock and roll.”

    “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

    At the Versailles Court in Paris, members of the Dalloyau family, whose descendants later founded the gastronomy house of the same name, served macarons to royalty in the then ruling House of Bourbon.  In the 1830s macarons were served two-by-two with the addition of jams, liqueurs, and spices. The double-decker macaron filled with cream that is popular today was invented by the French pâtisserie Ladurée.

    “One of the ways that working in France brought so much to the movie is that we were able to find people who actually specialise in 18th century food preparation. There’s all this tradition to the way food was made at that time. It was all so elaborate, so over the top. It was really fun as a director to have an entire ‘Cake Department’ devoted to creating macaroons and all these ridiculously cute pink pastries that we used as set dressings. The whole palette of the movie was a ‘cake and cookie’ kind of thing.” Sofia Coppola

    Coppola commissioned the legendary Manolo Blahnik to design hundreds of pairs of shoes for the film. The exquisite detailing of the shoes in opulent silk, lace, and dazzling jewels complemented the gowns beautifully. Apparently women of the 18th-century wore a lot of lace because it was a sign of wealth. The costume designer used original lace from that period but only sparingly because she wanted the dresses to be more graphic than lacy.

    “The biggest challenge facing Canonero was the sheer volume of costumes involved in staging three operas – Marie Antoinette was a keen and accomplished amateur performer – her wedding to the Dauphin, his coronation as Louis XVI, plus gambling and party scenes. “To dress and undress so many people is incredibly challenging. It’s rare to make a movie these days that spans 20 years of a very grand life.” The bulk of the clothes were made in ateliers in Rome’s Cincecitta studios. “I started by throwing pieces of material of Kirsten to see what colours suited her best. I hardly used wigs, because they weren’t right for her We thought that maybe we could have gone more crazy, but there was just not time.”

    “For Madame du Barry, “the rather vulgar mistress of the decadent King” (Louis XV, Marie Antoinette’s grandfather-in-law), Canonero wanted a totally different look from that of Marie Antoinette. “I dressed her like an exotic bird, in contrast to the rather naive, innocent queen-in-waiting.”

    From this interview:

    Did you use original pieces or did you redesign everything yourself? The cut of the clothes was perfectly correct. But the way we chose the color combinations and the hair was inventive. And of course you always look at something that exists in the past and then depart from there.

    What kind of materials did you use?   Beautiful silks, taffeta, and satin. But for Marie Antoinette I used original lace from the 18th century and I also used original waistcoats for the men, and the jewelry and accessories were sometimes used in a freer way. In those days all the ladies in the court would be covered in lace because it was the way to show how rich you were. They had much more jewelry than I used. I preferred the decorations of the dresses to be more graphic than lacy. Even though I used beautiful period lace sometimes.

    Pearls::Satin::Pink::Glitter::Froo Froo::Excess::Lace::Ribbon::Powder Blue::

    The imagery is so delicious that this will not be my last Marie Antoinette post. Actually I have restrained myself and intended this to be a short post! So much beauty to share…

    {Sources: Bandelle; eyesing}

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