The new film adaptation of Jane Austen’s Emma starring Anya Taylor-Joy and Johnny Flynn opened in general release in the US on March 6th. This enchanting and visually stunning interpretation of Austen’s classic tale of Miss Emma Woodhouse as the misapplying matchmaker of Highbury has received raves from the press and viewers alike.
The costumes beautifully define the film, greatly adding to the characterization and the drama. Joining us here today is fashion historian Hilary Davidson who has generously contributed a guest blog to share her insights and impressions of the costumes made for the new film by Academy Award-winning designer Alexandra Byrne.
Emma. is the best-costumed screen adaptation of Austen ever made. Strong words but delighted ones from a dress historian who has recently written a book on Regency fashion and seen a lot of odd screen versions of the period’s dress. Costume designer Alexandra Byrne and her team studied many original garments in British historical collections and threw all their research into a gloriously realised vision of circa. 1815 dress.
Carl H. Pforzheimer Collection of Shelley and His Circle, The New York Public Library. “Comfort” The New York Public Library Digital Collections.
Director Autumn de Wilde clearly adores the details of dress and pays them great attention. Throughout the film, we are shown the components of women’s dress and how they were arranged, from the knee-high stockings to the chemise and stays that helped create the illusion of a natural body. Emma demonstrates that Regency women didn’t wear underpants in a pose taken straight from Comfort [image]. Mr. Knightley is dressed from the skin to coat in a sequence I’m going to use in teaching fashion history. Continue reading
Welcome to Sanditon, an 1819 Regency seaside community in Sussex England—the fictional site of the new ITV/PBS television adaptation/continuation of Jane Austen’s final unfinished novel.
For those who are watching the eight-part series currently airing in the US on PBS, The World of Sanditon, by Sara Sheridan will be catnip to heighten your addiction. A copiously illustrated behind the scenes look at the making of the new television series, it also is filled with a biography of Jane Austen, historical information on the era, seaside life and health resorts, and Regency life for women.
In addition, there are spotlights on the characters and interviews with the actors who brought them to the screen. Here is a description of the book from the publisher Grand Central Publishing, details on the content, and images from the production for your enjoyment.
Sanditon, the final novel Austen was working on before her death, has been given an exciting conclusion and will be brought to a primetime television audience on PBS/Masterpiece for the very first time by Emmy and BAFTA Award-winning screenwriter Andrew Davies (War & Peace, Mr. Selfridge, Les Misérables, Pride and Prejudice).
This, the official companion to the Masterpiece series, contains everything a fan could want to know. It explores the world Austen created, along with fascinating insights about the period and the real-life heartbreak behind her final story. And it offers location guides, behind the scenes details, and interviews with the cast, alongside beautiful illustrations and set photography.
CONTENTS: Continue reading
One of the things I look forward to in period dramas is the costuming. For years we have been treated to fashionable Regency-era finery in Jane Austen adaptations, but the new Masterpiece Classic series Poldark takes us into an earlier era in British history. Set in 1780’s provincial Cornwall, the main plot line revolves around the Poldark family, their neighbors and their tenants—supplying an array of characters from different social classes. Curious about the late Georgian clothing in Poldark, I asked costume designer Marianne Agertoft to joins us today for a Q & A.
LAN: Welcome Marianne.
MA: Hi Laurel Ann. Thank you so much for your interest in the costumes for Poldark.
It was a great and passionate journey for all of us in the costume team and it is wonderful that the work is being appreciated.
Portrait of Captain George K. H. Coussmaker by Joshua Reynolds (1782)
LAN: From a layman’s point of view, being a costume designer looks like a very glamorous job. You get to spend your day being creative, researching history, playing with fabric, and working with celebrities! Can you share with us what your typical day was like while working on the costumes for Poldark? Continue reading