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They’re bolder, brighter and more brazen than everyone else, and everything is overly embellished. Portia wears these prints and often you’re not sure if she’s more like Joan Collins or Elizabeth Taylor. It might be too much, but that’s not on purpose. She sets the tone for them as a family and their color palette is overly citrus because she wants those girls to be seen. “The Featheringtons are new money and Portia needs to marry her daughters off. There’s a limpness to them that we didn’t want.”Ĭourtesy Netflix In contrast, the Featheringtons love garish patterns. We took that half-moon shape and created these straw accented with flowers or feathers that sit on top of the head. “There were no bonnets, but we do nod to them with our hair accessories. It’s almost like a trick of the eye that makes you see it differently.” Is it true that bonnets were banned? Using either organza, organdy or tulle, we could create another layer on top of the dresses that gives it a new sense of movement and fluidity. “We wanted to experiment with it by layering on other fabrics and embellishment. We looked at Dior dresses, from the New Look to the present day.” If that classic empire silhouette was the foundation, how did you modify it to make the world of Bridgerton visually distinctive? The Christian Dior: Designer of Dreams exhibition at Victoria & Albert Museum provided a wealth of inspiration. We knew that we had to shift the color palette and the fabrications, so from the 19th century, I immediately went to the 1950s and 1960s. We got a flavor of it and then it was about looking at the different silhouettes and shapes while knowing that this had to be aspirational, as opposed to historically accurate. “I looked at the Regency period in London through drawings and paintings. That’s a big number, even for a principal player.”Ĭourtesy Netflix Bridgerton ’s author Julia Quinn has shared images of your moodboard for the show, which includes everything from paintings to runway looks. For Phoebe alone, there were 104 costumes. In the end, there were about 7,500 pieces - from hats to shawls, to overcoats - that made up the 5,000 costumes that went before the camera.
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It was like a Bridgerton city of elves working continuously and they were brilliant. This is inclusive of the pattern cutters, the extraordinary Mr Pearl who was our corset maker, a tailoring department, an embellishing department, embroiderers and my co-captain John Glaser, among others. “It took five months to prepare before we went to shoot. I’d never put together a costume house before.” How many looks did this costume house ultimately create? How could we shift the aesthetics of a period drama to make it feel scandalous and modern? Then they asked if I wanted to do it and I jumped in because the challenge was too great. I also knew the Shondaland aesthetic and understood that this was not going to be like a Jane Austen adaptation. I went in to talk to Sara, Chris and Betsy to see if it’d be possible to create something on this scale. I’d known Shondaland organization for a number of years and Sara Fischer, their head of production, called me. “At the very beginning, I thought I was just helping out.
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Courtesy Netflix Designing for Bridgerton must have been a huge undertaking.