{"id":54666,"date":"2022-03-22T17:09:53","date_gmt":"2022-03-22T16:09:53","guid":{"rendered":"https:\/\/zine.modalova.com\/zine\/the-chronicles-of-bridgerton-creating-a-costume-era\/"},"modified":"2023-08-22T18:04:31","modified_gmt":"2023-08-22T17:04:31","slug":"the-chronicles-of-bridgerton-creating-a-costume-era","status":"publish","type":"post","link":"https:\/\/uk.modalova.com\/zine\/the-chronicles-of-bridgerton-creating-a-costume-era\/","title":{"rendered":"The Chronicles of Bridgerton: Creating a Costume Era"},"content":{"rendered":"\n

Often staged, especially in productions inspired by Jane Austin’s novels, the era of the English Regency<\/strong> has graced our screens more than once. However, it was with a much more modern twist that it shone in 2020, in the hit series The Bridgerton Chronicles<\/a>. As we approach the release of season 2<\/a>, on March 25th<\/strong>, let’s take a closer look at the creation of the series’ iconic costumes<\/strong>.<\/p>\n\n\n\n

The skilled hands of the Bridgerton Chronicles<\/h2>\n\n\n\n

The production of period films and series<\/strong> presents a real challenge for the teams in the art direction departments. This is especially true when tackling a period that has already been portrayed multiple times. This is why the teams behind the series The Bridgerton Chronicles chose to approach the era of the English Regency with a more modern eye<\/strong>, in order to attract viewers. A remarkable job that could even outshine Mark Darcy!<\/p>\n\n\n\n

In order to offer a “never-before-seen” series<\/strong>, Chris Van Dusen, the creator and showrunner of the series, turned to Ellen Mirojnick<\/strong> for the creation of the costumes. If her name doesn’t ring a bell, this American costume designer, who has won multiple awards, recently shone with her work on The Greatest Showman<\/a><\/em> by Michael Gracey.<\/p>\n\n\n\n

<\/div>\n\n\n
\n
\"Ellen
The costume designer, Ellen Mirojnick.\nSource: Netflix<\/figcaption><\/figure>\n<\/div>\n\n\n

The costume designer formed a team of over 230 pattern makers, dressmakers, and jewelry artisans<\/strong>… Who, under her vision, brought to life about 7,500 pieces<\/strong>. These unique costumes were designed and made specifically for the series. Exquisite pieces, meticulously handcrafted<\/strong>, down to the assembly of the jewelry. This majestic work was also carried out by big names in fashion, such as Mr. Pearl, who was responsible for the design of Bridgerton’s corsets.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\n
\n
\"Bridgerton
The dressmakers.\nSource: Netflix<\/figcaption><\/figure>\n<\/div>\n\n\n\n
\n
\"Bridgerton
Handmade jewelry.\nSource: Netflix<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
\n
\n
\"Costume
Costumes worked in detail.\nSource: Netflix<\/figcaption><\/figure>\n<\/div>\n\n\n\n
\n
\"Bridgerton
Season 1 costumes.\nSource: Netflix<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n

The English Regency in costumes<\/h2>\n\n\n\n

Bridgerton vs. Featherington<\/h3>\n\n\n\n

Spring 1813, heading to Grosvenor Square in the heart of London; to follow the entrance into British society of debutantes from the London high society. Riddled with scandals, narrated by the pen of a mysterious Lady Whistledown (with a Gossip Girl-like spirit), we follow the journey of the young girls from the Bridgerton and Featherington families<\/strong>. Between rivalries, passions, mysteries, and love stories, the series captivates with its vibrant and offbeat universe<\/strong>.<\/p>\n\n\n\n

Creating the costumed world of Bridgerton<\/h3>\n\n\n\n

Thus, right in the heart of the Regency era (1803-1820)<\/strong>, the story unfolds. Ellen Mirojnick was able to draw on various elements, including period paintings<\/strong>, to design the costumes<\/strong> for the series. Works from the 18th and 19th centuries, including those by Genieve Figgis, supported her artistic choices. Also, paintings from the 1940s to the 1960s were used to bring a touch of modernity<\/strong>. Major brands, such as Chanel<\/a>, inspired the costume designer with their fashion shows<\/a>, notably the 2017 show, as well as exhibitions of pieces from the fashion house.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\n
\n
\"Genieve
A Social Portrait, Genieve Figgis, 2014.\nSource: Phillips<\/figcaption><\/figure>\n<\/div>\n\n\n\n
\n
\"Period
Moodboard of period outfits.\nSource: Netflix<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
\n
\n
\"Bridgerton
Color palette.\nSource: Netflix<\/figcaption><\/figure>\n<\/div>\n\n\n\n
\n
\"Bridgerton
Costume moodboard.\nSource: Netflix<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n

The dominant artistic desire for creating the world of Bridgerton was to respect the historical context<\/strong> and the silhouettes of the time. While also adding a “Shonda Rhimes twist” (the producer who also gave us Grey’s Anatomy). This vision of 1813 is thus intended to be more luxurious and sumptuous<\/strong>, with a palette of bolder and more modern colors. In order to achieve this artistic choice, some liberties were taken<\/strong> with the accuracy of the costumes.<\/p>\n\n\n\n

Between historical realism and aesthetics<\/h3>\n\n\n\n

The “social season,” which ran from the beginning of the year until summer, forced the creators to think of costumes suitable for different seasons. But also for different times of the day. Because indeed, during the English Regency, outfits evolved throughout the day<\/strong>. An afternoon walking dress, for example, was slightly more covering, especially in terms of sleeves and neckline, than an evening gown. Also, the length of the dresses, the color of the fabrics, and hairstyles varied depending on age and social status. So many codes to take into account<\/strong> in order to create a realistic period series.<\/p>\n\n\n\n

<\/div>\n\n\n
\n
\"Period
Differences with the period outfit.\nSource: Netflix<\/figcaption><\/figure>\n<\/div>\n\n\n

However, in order to make the series sexier and more modern, some liberties were taken to emphasize aesthetics over realism<\/strong>. We can see, for example, corsets<\/strong> worn without a chemise underneath. These corsets are also extremely tight, unlike in reality, where waists were not reshaped during that era. More skin and cleavage are shown than in that period, and hair is often worn loose for added femininity.<\/p>\n\n\n\n

Some colors<\/strong> not used during that time are also included in the costumes to add more depth to the characters. For example, the black shirt worn by Simon. He also sports a three-day beard, which was not fashionable at the time, unlike sideburns, like Antony’s, which were trendy during that period.<\/p>\n\n\n\n

The light shades and muslin dresses have been put aside to create much more voluminous, textured, and colorful<\/strong> pieces adorned with embroidery and details… This adds more dimension and drama<\/strong> to the relatively simple outfits of that time. The Bridgerton outfits thus respect the principle of that period, which is to go out to see and be seen<\/strong>.<\/p>\n\n\n\n

Some pieces from that era are thus worn in a new, more modern way.<\/p>\n\n\n\n

Although some liberties were taken, particularly with the costumes of the main characters, we can see that the extras wear costumes more in line with the norms of the time, in order to create a realistic image, for example with the wearing of top hats.<\/p>\n\n\n\n

Characterization of the characters through costumes<\/h2>\n\n\n\n

In addition to contributing to the creation of the series’ aesthetics, costumes help characterize the characters in Bridgerton<\/strong> and highlight the narrative line.<\/p>\n\n\n\n

The costume choices thus make it possible to clearly differentiate and contrast the two families, Bridgerton and Featherington.<\/p>\n\n\n\n

Well-established in English high society, the Bridgerton family is dressed in costumes in powdery shades<\/strong>, in shades of pale blue and green, with silver details. These colors underline the family’s reputation and refinement<\/strong>. In contrast, the Featherington family, with their new money<\/strong> tastes, wears more colorful outfits adorned with many details, in citrus colors<\/strong> and floral patterns. These costumes give the impression that the mother has done everything to make her daughters stand out.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\n
\n
\"Bridgerton
Bridgerton family.\nSource: Netflix<\/figcaption><\/figure>\n<\/div>\n\n\n\n
\n
\"Featherington
Featherington family.\nSource: Netflix<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n

The Duke of Hastings, on the other hand, has costumes inspired by those of the dandies of the Regency era, like Beau Brummel. But they are a little more relaxed and romantic than at the time<\/strong>. The colors of the pieces, in shades of red\/purple, echo the costumes of Lady Danbury, who raised him.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\n
\n
\"Beau
Beau Brummel.\nSource: janeausten.co.uk<\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n
\n
\"Dandy
Duke of Hastings costume.\nSource: Netflix<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n

Queen Charlotte, who was the queen consort of King George for 50 years, is known to have maintained a similar silhouette from the start of her reign. Bridgerton highlights her late 18th-century style, which can be seen in paintings. Since she doesn’t have many continuous scenes in which she appears, the Queen was able to wear multiple costumes in Bridgerton, bordering on extravagance<\/strong>, which helps establish her status and power<\/strong>. Her costumes are characterized by the use of hoops to accentuate the sides, and the wearing of French-style wigs from the time of Marie Antoinette.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\n
\n
\"Queen
Queen Charlotte.\nSource: Netflix<\/figcaption><\/figure>\n<\/div>\n\n\n\n
\n
\"Queen
French-style wig.\nSource: Netflix<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n

The costumes, and their evolution throughout the episodes, help support the story<\/strong>.<\/p>\n\n\n\n

For example, we observe Daphne wearing outfits with colors that darken as she becomes closer to the Duke of Hastings. This is notably seen with shades of purple\/ochre (Simon’s color) gradually appearing in the fabrics.<\/p>\n\n\n\n

We also notice a change in colors<\/strong> in Penelope’s costumes, which highlights her love for Colin and her jealousy towards Marina, who is getting closer to him. The bright yellow shades are gradually replaced by powdery pink tones, which are characteristic of Marina.<\/p>\n\n\n\n

A touch of English Regency in our wardrobes<\/h2>\n\n\n\n

The Bridgerton series has won over thousands of viewers, to the point of bringing back into fashion some vintage pieces<\/strong>. Following Season 1, we noticed a spike in sales of empire waist dresses and velvet dresses. Capes have also made a comeback, especially at Isabel Marant<\/a>. C\u00e9line<\/a> brought back Mary Jane shoes that quickly sold out, as did retro hair accessories seen at brands like Miu Miu<\/a>.<\/p>\n\n\n\n

<\/div>\n\n\n
\n
\"Season
Season 2 of The Bridgerton Chronicles.\nSource: Netflix<\/figcaption><\/figure>\n<\/div>\n\n\n

If you too want to infiltrate the debutantes’ balls, discover all their secrets, and dream in front of these enchanted costumes, don’t miss the new season on March 25th<\/strong>!<\/p>\n","protected":false},"excerpt":{"rendered":"

Often staged, especially in productions inspired by Jane Austin’s novels, the era of the English Regency has graced our screens more than once. However, it was with a much more modern twist that it shone in 2020, in the hit […]<\/p>\n","protected":false},"author":11,"featured_media":5976,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"eltdf_count_post_views_meta":679,"_editorskit_title_hidden":false,"_editorskit_reading_time":0,"_editorskit_is_block_options_detached":false,"_editorskit_block_options_position":"{}","footnotes":""},"categories":[264],"tags":[],"class_list":["post-54666","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-fashion-uk"],"_links":{"self":[{"href":"https:\/\/uk.modalova.com\/zine\/wp-json\/wp\/v2\/posts\/54666","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/uk.modalova.com\/zine\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/uk.modalova.com\/zine\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/uk.modalova.com\/zine\/wp-json\/wp\/v2\/users\/11"}],"replies":[{"embeddable":true,"href":"https:\/\/uk.modalova.com\/zine\/wp-json\/wp\/v2\/comments?post=54666"}],"version-history":[{"count":0,"href":"https:\/\/uk.modalova.com\/zine\/wp-json\/wp\/v2\/posts\/54666\/revisions"}],"wpml-translations":[{"id":78969,"lang":"en-us","href":"https:\/\/uk.modalova.com\/zine\/wp-json\/wp\/v2\/posts\/78969"},{"id":5882,"lang":"fr","href":"https:\/\/uk.modalova.com\/zine\/wp-json\/wp\/v2\/posts\/5882"},{"id":54669,"lang":"de","href":"https:\/\/uk.modalova.com\/zine\/wp-json\/wp\/v2\/posts\/54669"},{"id":54670,"lang":"it","href":"https:\/\/uk.modalova.com\/zine\/wp-json\/wp\/v2\/posts\/54670"},{"id":54667,"lang":"es","href":"https:\/\/uk.modalova.com\/zine\/wp-json\/wp\/v2\/posts\/54667"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/uk.modalova.com\/zine\/wp-json\/wp\/v2\/media\/5976"}],"wp:attachment":[{"href":"https:\/\/uk.modalova.com\/zine\/wp-json\/wp\/v2\/media?parent=54666"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/uk.modalova.com\/zine\/wp-json\/wp\/v2\/categories?post=54666"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/uk.modalova.com\/zine\/wp-json\/wp\/v2\/tags?post=54666"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}