Marie Antoinette: Life in Color

AA CINEMA CINEMA PALETTE PALETTE starring starring

E I R MA A N TO IN E T T E color colorinspiration inspirationfrom from the thefilm filmdirected directedby by Sofia SofiaCoppola Coppola

vol. 01 A CINEMA PALETTE starring

MARIE AN TO IN ET TE

Copyright © 2018 Kelsey King Cover design © 2018 by Kelsey King Cover imagery © Kelsey King. All rights reserved.

All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means - except in the case of brief quotations embodied in articles or reviews without written permission from its publisher.

The characters and events portrayed in this book are ficititious. Any similarity to real persons, living or dead, is purely coincidental and not intended by the author.

Copyright © 2018 Kelsey King All rights reserved.

ISBN-10-1485744231

Marie Antoinette LGȤIIÍC 9N +Dɉ8 DEEDA8 Kirsten Dunst stars in the title role of Columbia Pictures’ biographical drama Marie Antoinette.

Photo Credit © 2006 Leigh Johnson.

Copyright © 2006 Sony Pictures Entertainment Stock images from: www.unsplash.com Textile samples from: www2.culture.gouv.fr Text taken from: http://www.colourlovers.com Illustrations © by Kelsey King

introduction.

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onjour! Welcome to this visual guide for some color inspiration. This book will act as a guide to color used in cinema; this edition focuses on Sofia Coppola’s 2006 “Marie Antoinette”. Coppola is the director for the movie, and she is known for her day-dreamy color palettes used in her films. By the blocks of colors selected, there will be a “name”, CMYK identification, and RGB numbers. The palettes are inspired by the images on each page, and were color-dropped from the Marie Antoinette film stills.

“au chico” cmyk:31, 72, 55, 12 rgb: 163, 90, 94

“lily” cmyk: 26, 35, 20, 0 rgb: 189, 165, 178

“mischka” cmyk: 16, 13, 10, 0 rgb: 211, 210, 214

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The Wardrobe Book

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his guide also features small samples from Marie Antoinette’s “Gazette des atours” or “Wardrobe Book” for 1782. It was a scrapbook in which Marie Antoinette’s Mistress of the Robes and confidante Geneviève de Gramont, comtesse d’Ousun, pasted fabric samples of the Queen’s outfits.

“Each outfit is categorised and accompanied by a tiny swatch of material. There are samples for the court dresses in various shades of pink, in shadowy grey-striped tissue and in the self-striped turquoise velvet intended for Easter. But what is notable is the preponderance of swatches for the more casual clothes, the loose Lévites (wrapped gowns with a sash) shown together on one page in an array of colours, from pale grey and pale blue through to the much darker shades of maroon and navy, sometimes with small sprigs embroidered between the stripes.

There are redingotes (from the English word riding-coat) in the same palette of blues, as well as a particular mauve marked BertinNormand, coupling together the names of the couturier and the silkmerchant. Swatches for the so-called ‘Turkish’ robes are shown in selfstriped pink and very dark mauve, for the robes anglaises in turquoise and self-striped mauve as well as dark maroon striped in pale blue.

One swatch of material, supplied by the other celebrated silk-merchant, Jean-Nicholas Barbier, uses the Queen’s favourite cornflower to good effect, set in a design of wavy cream-coloured stripes.”

—Antonia Fraser, “Gazette des atours de Marie Antoinette”

“wistful” & more...

“wistful” cmyk: 36, 32, 0, 0 rgb: 164, 167, 211

“waikawa gray” cmyk: 79, 71, 19, 4 rgb: 82, 90, 143

“vanilla ice” cmyk: 4, 16, 11, 0 rgb: 240, 215, 212

“porcelain” cmyk: 4, 2, 2, 0 rgb: 241, 243, 244

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A cinema color pale�e Sofia Coppola’s 2006 film Marie Antoinette told the story of the teenage queen, based on a book by Antonia Fraser. It may have been light on history but it was chock full of visual inspiration. Opulent, candy colored excess is the style here and the colors provide endless inspiration for a little bit of pop-Versailles style. When you dissect it a bit you realize a color palette was chosen at the beginning of the production and carried throughout the entire movie. Everything from the stunning gowns to the furnishings to the flowers followed a color story and the result is magical.

The screengrabs from the film are dreamlike, slightly surreal and very far over the top in terms of direct style inspiration to today’s interiors but we think the color combinations are beautiful and could work as a general starting point for some very interesting rooms. What keeps these combinations sophisticated and not too sugar drenched is that the candy colors are used in combination with neutrals as grounding colors, from the pure white of the first example through the warm whites and apricot beiges of the other examples.

1) Pale robins egg blue, white satin, bubblegum pink and touches of red.

2) Deep crimson red, light blue/turquoise and gold with just a touch of lavender.

3) A slightly moodier mix: dusty rose, carnation and ballet slipper pink with browns and golden yellows.

4) Modern pastels, powdery but strong: pale turquoise, lavender and pink.

5) Pale pink, raspberry red, pale yellow and gold.

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“roof terraco a” & more...

“roof terracotta” cmyk: 23, 100, 100, 18 rgb: 165, 30, 35

“indian khaki” “corduroy” cmyk: 62, 45, 50, 15 cmyk: 25, 29, 44, 0 rgb: 195, 174, 146 rgb: 101, 115, 111

“matrix” cmyk: 30, 62, 66, 12 rgb: 165, 105, 87

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she is a flower

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Director Sofia Coppola’s 2006 Marie Antoinette is loosely based on the real life of its title character, the Archduchess of Austria who married Louis-Auguste, the Dauphin of France, in 1770 at the age of 14. In history and in the film, the marriage isn’t consummated—a sticking point in the story. Instead, Marie (portrayed by Kirsten Dunst), who has little political sway and finds herself frustrated with life at court, throws herself into more frivolous pleasures—clothing, gambling and makeup. When the king of France passes in 1774, the Dauphin (portrayed by Jason Schwartzman) becomes king—making Marie Antoinette the new queen.

“old rose” & more...

“old rose” cmyk: 23, 62, 49, 3 rgb: 190, 117, 113

“brick red” cmyk: 18, 96, 81, 8 rgb: 190, 44, 57

“dawn pink” cmyk: 3, 6, 7, 0 rgb: 242, 233, 228

“pistachio green” cmyk: 32, 16, 55, 0 rgb: 181, 190, 137

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“clay creek” & more

“clay creek” cmyk: 45, 39, 64, 10 rgb: 139, 133, 101

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.. e...

“beauty bush” cmyk: 3, 27, 13, 0 rgb: 239, 195, 198

“swamp green” cmyk: 65, 52, 92, 55 rgb: 181, 190, 137

“whiskey” cmyk: 14, 52, 60, 1 rgb: 212, 137, 105

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“old gold” & more...

“old gold” cmyk: 18, 35, 90, 1 rgb: 209, 162, 60

“pesto” cmyk: 57, 39, 100, 22 rgb: 106, 115, 48

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“silk” cmyk: 35, 31, 29, 0 rgb: 194, 171, 167

“careys pink” cmyk: 13, 44, 1, 0 rgb: 216, 158, 195

A li le history on the “Marie Antoine e” adaptation Marie’s extravagant lifestyle and her husband’s investment in foreign wars are cause for unpopularity in debt-ridden France. Marie’s brother, the Holy Roman Emporer Joseph II, comes to visit, counseling Marie to scale back her ways and giving the king advice on bedroom matters. Seven years after it happened, the marriage is finally consummated; Marie gives birth to her first child, a girl, in 1778.

In the film, Marie begins an affair with Swedish Count Axel von Fersen and begins to spend much of her time at a small chateau on the grounds of Versailles. She has a son, the new Dauphin of France, and begins to spend more time focusing on her family--and less on gambling and purchases, particularly in light of France’s fiscal problems, which cite regular riots. At the end of the film, the the royal family leaves Versailles for Paris as the French Revolution grips the country.

While Marie Antoinette’s modern flairs—highly stylized characters, a mostly contemporary soundtrack--draw criticism, the title character’s lavishness is beautifully captured. The film is something to look at, and that’s in large part thanks to Italian costume designer Milena Canonero, who won an Academy Award for her work on Marie Antoinette.

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ȤI 8AA HI8GIÍ; <GDB I>Í B8:8GDDCH According to an article in The London Times, “At the start of pre-production, Coppola handed Canonero a box of pastelcoloured macaroons from the Ladurée pastry house. ‘She told me, ‘These are the colors I love’,’ recalls Canonero. ‘I used them as a palette. Sofia was clear about the coloration, 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.’

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“new york pink” & more...

“new york pink” cmyk: 13, 59, 31, 0 rgb: 217, 130, 141

“pavlova” cmyk: 17, 15, 42, 0 rgb: 214, 203, 159

“blue haze” cmyk: 16, 20, 2, 0 rgb: 209, 199, 222

“link water” cmyk: 14, 7, 0, 0 rgb: 214, 224, 242

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<89GȤ: 8C; <GȤAAH Canonero said she'd start each of Dunst's frothy, frilly, candy-colored pieces by throwing material over the actress to see which colors best suited her. Wigs were rarely used for Dunst, Canonero said, because they weren’t right for her.

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The majority of the clothes were made in ateliers in Rome’s Cinecitta studios, considered the hub of Italian cinema. It’s not surprising that Canonero’s biggest challenge was the volume of costumes, especially those required for the film’s three opera scenes.

“tall poppy” & more...

“tall poppy” cmyk: 18, 99, 100, 8 rgb: 189, 37, 39

“sirocco” cmyk: 64, 40, 47, 11 rgb: 100, 124, 122

“charm” cmyk: 11, 65, 31, 0 rgb: 218, 120, 137

“swirl” cmyk: 15, 15, 17, 0 rgb: 214, 209, 201

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“amaranth” & more...

“amaranth” cmyk: 9, 100, 39, 0 rgb: 219, 25, 101

“thatch green” cmyk: 63, 53, 100, 54 rgb: 65, 65, 27

“heath” cmyk: 40, 95, 65, 57 rgb: 87, 16, 38

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“alizarin crimson” cmyk: 0, 99, 100, 0 rgb: 236, 37, 38

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“Sofia’s portrait of Marie Antoinette in the film is accurate, but human,” Canonero told the Times.

Coppola said herself the point of the film, rather than historical accuracy or even a much-detailed story, was to focus on Marie Antoinette’s “personal story”: “Louis wouldn’t sleep with her, so she wanted to go out and party—like someone in a bad marriage going shopping. It just seemed like the same old story,” she told the New York Times.

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“rose fog” & more...

“rose fog” cmyk: 9, 36, 15, 0 rgb: 226, 173, 184

“athens gray” cmyk: 34, 25, 32, 0 rgb: 235, 234, 240

“bud” cmyk: 6, 5, 2, 0 rgb: 173, 176, 168

“straw” cmyk: 17, 18, 55, 0 rgb: 215, 197, 135

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“concrete” & more...

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“concrete” cmyk: 3, 3, 2, 0 rgb: 243, 242, 242

“gull gray” cmyk: 38, 24, 20, 0 rgb: 161, 175, 187

“lola” cmyk: 12, 16, 8, 0 rgb: 219, 208, 217

“pink swan” cmyk: 25, 26, 23, 0 rgb: 193, 181, 181

â&#x20AC;&#x153;To me, Marie Antoinette was very unlucky. She lacked the right upbringing for such a role. She was the sweet playful HJSM PG UIF GBNJMZ 4PžB IBT HSBTQFE UIF MJHIUOFTT BOE TVQFSžDJBMJUZ PG UIF ZPVOH Marie Antoinette, but also the dignity of the woman. She has done it by using light brush strokes and not too much dialogue.â&#x20AC;?

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“tower gray” & more...

In relation to Coppola’s two previous films—The Virgin Suicides (1999) and Lost in Translation (2003)—she said she saw Marie Antoinette as the last in a triology. “It’s a continuation of the other two films—sort of about a lonely girl in a big hotel or palace or whatever, kind of wandering around, trying to grow up,” she said. “But in the other ones, you know, they’re always sort of on the verge. This is a story about a girl becoming a woman. And in this, I feel like she does.”

“tower gray” cmyk: 32, 17, 22, 0 rgb: 175, 191, 191

“bitter” cmyk: 48, 36, 48, 5 rgb: 137, 141, 128

“muddy waters” cmyk: 24, 47, 59, 2 rgb: 192, 140, 110

“albescent white” cmyk: 3, 12, 15, 0 rgb: 244, 223, 209

And perhaps, considering in real life, Marie went on to have four children to whom she was greatly dedicated, as well as an increased amount of political influence, that’s not entirely inaccurate.

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MA RIE ANT OIN ETTE AA life life in in color. color.

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Find a little more inspiration in the colors used in this guide.

“dawn pink” cmyk: 3, 6, 7, 0 rgb: 243, 236, 230

“jungle mist” cmyk: 32, 3, 20, 0 rgb: 172, 213, 207

“geyser” cmyk: 22, 7, 12, 0 rgb: 197, 215, 218

“moon dust” cmyk: 16, 8, 24, 0 rgb: 214, 218, 196

“pomegranate” cmyk: 0, 92, 98, 0 rgb: 238, 58, 37

“buff” cmyk: 5, 18, 53, 0 rgb: 242, 206, 137

“sidecar” cmyk: 4, 9, 24, 0 rgb: 244, 228, 196

“chantilly” cmyk: 0, 30, 0, 0 rgb: 248, 194, 218

“mandys pink” cmyk: 3, 29, 24, 0 rgb: 242, 190, 178

“maries pink” cmyk: 2, 26, 26, 0W rgb: 245, 196, 177

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ofia Coppola weaves modern day nuances and music into the historical movie Marie Antoinette to make it more fresh and modern. Itâ&#x20AC;&#x2122;s pure eye candy, and the colors that have been selected for this guide can be saved and applied to whatever you choose to create.

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