Abstract: Since the release of Sofia Coppola’s film Marie Antoinette in 2006, the image of the French queen has become a major merchandizing item. From luxurious, limited-edition objects to mass produced junk, either serious or silly (the “ejector head” figurines), Halloween costumes or makeup have raised Marie-Antoinette to the status of an easily recognizable, highly stylized international superstar, although this vast commercial production is not systematically based on a consistent point of reference.
