Bridgerton is a visible feast not like any we have seen earlier than. The decadent Netflix interval drama created by Shondaland is predicated on the primary e-book within the Bridgerton collection of romance novels by Julia Quinn, The Duke and I. The costuming, very like the collection itself, is a totally recent tackle what you’ll count on from the Regency period — stuffed with color, texture, and scandal — and POPSUGAR spoke to costume designer Ellen Mirojnick about how she created a Regency wardrobe that we want we may put on in the present day.
“I love Portia’s character so much because she’s somewhat of a cross between Elizabeth Taylor and Joan Collins in a Regency time that we’re making modern.”
Mirojnick designed the beautiful robes on Bridgerton by layering trendy materials and colorations over conventional Regency silhouettes. Dresses worn in early Nineteenth-century England featured a sq. neck, empire waist, and quick puff sleeves in a muted palette of lotions. For a Twenty first-century reimagining of the period, Mirojnick emphasised the romance and fantasy of Bridgerton by layering robes with organza or organdy. The delicate, sheer material overlay provides a mysterious factor to the costumes and a fluidity that’s uniquely trendy. Mirojnick and her expansive staff additionally performed with vibrant color palettes and quite a few elaborations to create an aspirational wardrobe that might seduce fashion-lovers of in the present day.
“It’s like divine ecology,” Mirojnick mentioned of the Bridgerton costume-design temper board, which was coated in cutouts of varied varieties of embroidery, flowers, Wedgewood ceramics, ceiling designs, and style moments from the Nineteenth to Twenty first century. “I look at everything that exists, present time included, and going back decades and decades,” she mentioned. Embellishments from Chanel’s spring/summer time 2017/18 couture assortment impressed the collection’ closely adorned attire, and the usage of organza layering was partially tailored from Maria Grazia Chiuri’s youthful aesthetic for Dior.
With hundreds of unique costumes to design and stitch inside 5 months, Bridgerton created a whole costume home for the manufacturing, and had garments made and shipped in from Spain, France, Portugal, New York, and Budapest, Hungary. “It was a massive undertaking and quite a great challenge,” mentioned Mirojnick. “I’d never built a costume house before, so I’m thrilled that we were able to actually do it and get it to work. All of the principal clothing was made bespokely for each character.”
Author Julia Quinn described the 2 principal households — the Bridgertons and Featheringtons — as having distinctly contrasting types and approaches to excessive society. Mirojnick translated Quinn’s imaginative and prescient as a simplicity for the Bridgerton household costumes with delicate additions of the bee motif and filigree particulars; and an ostentatious wardrobe for the “new money” Featherington household with quite a few, competing motifs, together with feathers, butterflies, and the color yellow.
“There is a simplicity to Daphne [Bridgerton] (played by Phoebe Dynevor),” mentioned Mirojnick. “She is the only one that is cleanly simple and elegant. Her accessories are so tiny, so thin, and so perfect. There’s just Daphne, she’s like a porcelain doll.” Daphne’s youthful sister Eloise (performed by Claudia Jessie) is considerably rebellious and resists the confines of propriety and custom by preferring her research to romance and marriage. “I wouldn’t say she’s a feminist, but I would say she’s independent, and she doesn’t want to be decorated,” Mirojnick added. “She’s very buttoned up, so you will always have a little tissue that has a button-up, a little bit of a masculine-shirt type of filler, whether it be in shadow stripes or a little ruffle, but very, very simple in a plain masculine way. Her outside jackets are also taken from a man’s cutaway. We made a jacket that was very much a different silhouette than any of the other girls.”
“And then of course, there’s the Featheringtons — the more, the better. We do a lot of feathers, we do a lot of flowers, a lot of jewels, and a lot of layering of different things all together. We embellished the fabrics that existed, and layer things, and put ruffles on them, and put ribbons on them, and put bows, anything. The sky’s the limit. It really is. But those motifs are very big. They’re bright, they’re bold, they’re brazen, and colorful.”
Despite the elegant wardrobe of the Bridgertons, it was really Portia Featherington and her daughters that Mirojnick received most excited to design for. “I love Portia’s character and I love the daughters,” she mentioned. “But I love Portia’s character so much because she’s somewhat of a cross between Elizabeth Taylor and Joan Collins in a Regency time that we’re making modern. It’s kind of mixed up, but she’s bold, and brazen, and hopeful, and wants so much, and it’s all new money, and it’s all out there, and she dresses those girls like, “Look at me,” when it’s quite opposite of what they really should be. But the girls look like so much fun, and I actually, really, I love the whole Featherington family, they were just delightful to do. I will say this . . . I think that one of my favorite characters to design is Regé’s (who plays Simon Basset). He’s sexy, and he really is a true romantic hero. He is the master romance novel lead character that comes riding into town. I just think he’s the cat’s meow.”
Catch all of the beautiful gossip on Bridgteron, which premieres on 25 Dec, solely on Netflix.