A new version of The Little Mermaid directed by everyone's favourite indie-darling Sofia Coppola, you say? According to Variety, Coppola is in talks with Universal to give a film adaptation of Hans Christian Andersen's notoriously dark fairy tale her quirky treatment. Which means your childhood favourite Disney movie is getting wrapped up in the mind of the woman who created your favourite coming of age films, The Virgin Suicides and Lost in Translation. Which sounds pretty good.

As well as being an expert in examining early-onset ennui, suburban disenchantment, and historic queens who just can't get enough cake, Coppola has a knack for creating arresting visuals that shine out of the cinema screen like neon lights on a rainy pavement or soft spring sun through a dusty window. It's no surprise that a simple search of her name on tumblr is as much of a feast for the eyes as watching one of her films, and of course, this has plenty to do with the fashion, whether we're looking at high school grunge get-up in her filmmaking debut, Lick the Star, or a patisserie's worth of frosted pastels in Marie Antoinette. 

While we wait with baited breath wondering what an underwater adventure could look like through Sofia Coppola's eyes, let's take a tour through the fashion in her films so far.

Lick the star, 1998
The short film that marked Sofia Coppola's directorial debut sets the template for super-cool misfits that have characterised her films since. 

Just look at the swag a bit of leopard print and lipstick adds to a crisp school-shirt and pretty lace skirt. 

Watch the full short here before replenishing your supply of Revlon Black Cherry lipstick. 

The Virgin Suicides, 1999
This film adaptation of Jeffrey Eugenides dark coming-of-age novel starring Kirsten Dunst and Josh Hartnett was the reason hundreds of teenage girls took their childhood lace ankle-socks out of retirement. 

Accompanied by a dreamy soundtrack by French electro act, Air, the Lisbon sisters' tragic tale unfolds in a haze of ditzy floral dresses and sheer pale fabrics, and if you can find a better argument in favour of cheesecloth sundresses, we'd like to see it. 

Cute little knitted tops were plentiful too - so long as they matched the dusky sky. 

If you were still at school when the film came out, a curtain of golden blonde hair and an uneasy stare out of your kohled eyes was all you needed to look like Lux.

This film might be sugared with whimsy but that's not to say it's not dark (it's about suicide after all), and a fur collar and a cigarette is all that's needed to give Kirsten Dunst edge. 

Lost in Translation, 2003
Sofia Coppola's masterpiece, featuring the odd coupling of Bill Murray and Scarlett Johansson feeling equally isolated in Tokyo, won her an Oscar for best original screenplay and managed not to be blighted by some of the questionable fashions of that time. 

There's two distinct categories of Scarlett Johansson's style in Lost in Translation. There's a haphazard preppy look of shirts and macs that give her away as an American in the vast Japanese metropolis. 

Said shirts are often paired with tank-tops (or sweater vests, as we don't doubt she'd call them), presumably for extra preppiness. 

We also have the jersey loungewear she lurks around her hotel wearing, the clothing equivalent of the crushing ennui her character is feeling. 

It's probable that Scarlett Johansson is one of very few women who could win a man's heart wearing trackies. 

And then of course there's those sheer pink knickers that open the film - the ones that had us all doing extra squats for a week after first seeing it. 

Marie Antoinette, 2006
The biopic in which Coppola used poetic licence like it was going out of fashion garnered mixed reviews (audiences at Cannes Film Festival booed, but then the French never were fans of Queen Marie anyway), but the costumes, created by Milena Canonero, were nothing less than spectacular.  

The colour pallette looked like a box of Ladurée macarons and the whole picture proved there's no such thing as too much cream lace. 

Want to see all 60 gowns that lead actress Kirsten Dunst wears throughout the film? Here you go. 

We hope that Marie Antoinette was really wearing diamonds and lipstick in the bath when she said that famous line that she probably never actually said after all. 

Somewhere, 2010
Elle Fanning, as the adolescent daughter of an ailing actor played by Stephen Dorff turns up to spend time with him at Chateau Marmont looking like an uneasy mixture of the kind of nonchalant California girl knocking around the iconic hotel, and an all-American teen in cotton shorts. 

With a classic figure-skating outfit we get a dose of Coppola's signature prettiness. 

A hint of what Ariel could look like in The Little Mermaid, as father and daughter lark around in the pool?

The Bling Ring, 2013
This true story of a group of LA socialites and their burgling ways fully delivers on looking like its wardrobe was filched from Paris Hilton and Lindsay Lohan, as the clothes the IRL characters wore supposedly were. 

If ever anyone was to succeed in making 'fetch happen' it would be Emma Watson and Katie Chang in the best mini skirts and Juicy Couture tracksuits the early 2000s had to offer. 

Here's a fun game for you: watch the film and drink every time you see very short denim cut-offs masquerading as formal wear. 

Coppola's shoutout to stylist-of-that-moment Rachel Zoe with a pair of sunglasses bigger than Emma Watson's face. 

Sofia Coppola's potential next big hit, The Little Mermaid, is not even in production yet, so we'll have to wait and see what the costume in that will look like. Perhaps something along the lines of Levi's 1997 Underwater Love advert?