(Left) Anya Taylor-Joy as Emma Woodhouse (Right) Tanya Reynolds as Mrs. This allows Emma’s pastel pink jacket and bright white muslin to create a stark contrast. All attending the wedding are wearing their Sunday best, creating a sea of burgundy pretty much regardless of class. This distinction between Emma and those around her is most apparent when she attends her friend’s wedding. In contrast, Emma’s wardrobe, filled with bright colors and pastels, is a ray of sunshine, allowing her to stand out. The richer they are, the more burgundy tones in their wardrobe, the poorer they are, the more earth tones. The color scheme for most of the cast ranges from earth tones to burgundies, and where they fall in that range depends on how wealthy they are. In every room she walks into, Emma is clearly the individual with the most wealth and power in the room. The clothes emerging from the fashion plates depended on interpretation, ability, money and confidence.” Alexandra Byrne in an interview with awards dailyĪnya Taylor-Joy as Emma Woodhouse Photo: Focus FeaturesĮmma Woodhouse, played by Anya Taylor-Joy, is nothing if not confident enough to wear these emerging fashions around the small village of Highbury, where her wealth and status make her an influential figure, and Bryne’s designs center around this fact. These journals and the hand-colored fashion plates played an important part in the definition of ‘fashion’ as a fast-moving, cosmopolitan phenomenon. “I find the period interesting because fashion journals were beginning to be published. The extremes of creating heightened realities or ones firmly grounded in history for the big screen are challenges Bryne is very familiar with, having designed multiple films in the Marvel universe and historical dramas, including Elizabeth and Mary Queen of Scots. This allowed her to be ready for the Historically heightened world of de Wilde’s Emma. Color was how you showed your wealth and your class rank…It does feel like a heightened world, but it is based on historical accuracy.” Autumn de Wilde, in an interview with Fashionistaĭe Wilde wanted to create a world accurate to the era but in a way that heightened and showed the complexity of the characters. “I was really excited by how colorful the Regency period really was. However, de Wilde was nothing if not thorough when researching her feature film directorial debut. With the film clearly leaning into comedic aspects of the story of Emma’s miss conceived plan to use her great wealth and influence to create an advantageous match for her friend Harriet, the exuberance made sense even if it didn’t seem period-appropriate. When the first images of Autumn de Wilde’s Emma emerged, showing a vibrant and elaborately dressed Emma, it looked like de Wilde and Oscar-winning costume designer Alexandra Bryne had decided to take a lot of creative license with the period piece. However, each strives to capture the era’s perceived simplicity through a lack of color or embellishment in its costumes. Darcey goes swimming only half-clothed to the 2005 Pride and Prejudice movie where deep earth tones telegraphed the gravity of every situation or 2009 Emma miniseries where costume designer, Rosalind Ebbutt, wasn’t afraid of florals. While each new adaptation has taken liberties with this classic image, from the 1996 Emma movie in which Emma practices archery in a striped pink dress or 1995 Pride and Prejudice miniseries where Mr. It’s also the image we expect when a new adaptation of one of Jane Austen’s classic novels is announced. A woman wearing an empire-waisted dress made of fine, white muslin in a bonnet decorated with delicate ribbon and flowers gazing across the English countryside is the classic image of the subdued Regency-era woman we’ve all become accustomed to.
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