A period piece is defined as a body of work that is set in or strongly reminiscent of an earlier historical era. Films set in earlier times are an experience that transports viewers into moments from long ago, one crucial variable to bring this experience to life and enthrall the eye being costume design. In a modern setting, the work of a costume designer would be to curate looks that reflect the character’s identity, convey development, and transform the actor into an authentic being on screen. But in a period piece, on top of establishing tone, time, place, and designing for characterization there are two approaches of design: accuracy or artistry in coordination with the creative vision of the project. When capturing a time period, costume designers will often opt for reflecting the spirit of the time by grounding their design with the historical roots, but then stylizing variables to contribute to the overall imagery of the film and visually connect directly to the audience. This means that the Artistry is upheld Over Accuracy to tell the story visually by materializing through costumes that captivate the eye and capture the aura of the narrative.
With the modern audience constantly taking in multiple streams of visual content: visual literacy is at an all-time high, but this also means the visual demand to fascinate and truly resonate with the eye, mind, and heart is also at an all-time high in line with the visual codes of language easily interpret to hold impact. True to form is necessary and stylization is necessary in the same manner that fiction and nonfiction novels exist. Costume design needs context, it is not the same as a collection of fashion- it is very individualized and meant to be in a specific world
COSTUME DESIGN HISTORY TO TODAY
Historically costume design has been executed in numerous ways and have worked in their own right. A cohesive idea in terms of costuming began during the 18th century, theatrical troupes performing in the style of “commedia dell’arte” began to utilize dress in order to perform as stock characters so that the audience would straightway have an understanding of who the characters were, effectively and efficiently creating meaning out of the visuals. From the 1770s through the 1870s, a desire for accuracy began, and into the 19th-century costume design developed into an art form- one that is the foundation of costuming today:
historical accuracy to the highest visual precision possible and the conceptually driven that is designed through a lens of artistry which would stylize in order to revitalize and fortify a creative vision over true form with respect to origin.
Stylization, the more commonly done in modern media seeks to express the developed world rather than remaining purely rooted in our external reality, this creates a boundless design realm and by extension- boundless options in terms of visual communications with the historical period as a foundation, to build upon giving the audience the feeling of the time and the experience of the story.
The success of the visuals is not just purely in the hands of the costume designer but in the collaborating hands of numerous creatives such as directors, set designers, actors etc who together breathe life into an enriched, tangibly conjured up world that gives the illusion of being as dimensional and fascinating as our own. This is necessary as viewers must be able to relate to the world, but also garner an appreciation and connection to those within it through a very specific type of modernity that allows for the history to be embedded.
FASHIONING A NEW WORLD: THE GREAT GATSBY (2013)
For The Great Gatsby 2013, the director expressed the need for a vibrant visceral New York rather than a nostalgic one. The enchanting approach strives to convey the delight, the heights of emotions, and the highly romanticized concept. Rather than opting for the typical image of the 1920s, the understanding of the history would allow for as Pablo Picasso stated learning the rules like a pro so you can break them like an artist situation.
Brooks Brothers Archives allowed for the men to have a generally correct look through 600 background suits that were advised by a historian, the leading men were stylized to the character such as Gatsby’s conspicuous and at moments tasteless ensembles that mirror his parties. The costumes, mostly of the women on screen, were a reinterpretation of the classic 1920s look to not fit the period, but the story. Costume designer Catherine Martin garnered together Prada and Miu Miu pieces for film tests and captured the essence of this adaptation so well that fashion designer Miuccia Prada was asked to join the project.
Costume designer Catherine Martin stated, “[Miuccia] always sees the future with vintage eyes, and I think Baz kind of always sees the past through modern eyes, so there’s an interesting nexus of thought. So, after a very lengthy, intellectual collaboration where we talked about these modern garments infiltrating the story… [They] provide this wonderful texture and these different characterizations.”
These 40 ensembles would be featured for the two-party scenes, the scenes that are crucial to the narrative’s development and propel the story. The novel itself is very stylish, featuring figurative imagery and poetic language that elevates the surface-level story while provoking an undertone of wistfulness. The graceful and elegant telling contrasts the crude, gritty, and dirty nature of reality- the type of reality that on screen would not convey the emotional experience and beauty of this telling to translate on-screen.
Visually as an audience, our visual intake is tested in a story as extravagant as this, to retain literacy and allow for an immersive experience and connection without bombarding the eye- a delicate balancing act to give in to the sense rather than overwhelm. The fashion of Prada and Miu Miu give viewers the full experience away from the reality for imagery that is quaint, fantastic, and outlandish while retaining narrative and tones of the period for the audience while depicting the poignant tone without crossing a line out of this world.
For example, Daisy is defined by ethereal beauty and charm along with the fickle and shallow nature that leaves her bored and even cynical. She is aligned with old-fashioned values and places great value on luxury. Materializing Daisy stylizing into garments would authentically display her traits through design choices such as traditionally feminine color schemes, wispy feathers that reflect her vocals, and a dainty yet hugging silhouette that highlights her femininity in a demure manner. An outfit that captures the aura of this film is a dress sported by Daisy in the image of look 33 from Prada Spring/Summer 2010. the frock of chandelier crystals and pastel colors materialize the surface-level experience and reality of the situation.
This is not to say style over substance is right but to make the substance stylish in order to have a vehicle for an exploration well suited in proportion to the story, concept, themes, and characters. In a film grounded in reality exploring topics and true lives, accuracy is needed. Even though a film is not a documentary, many people learn and perceive history through the media. By designing in the image of the period, further insight is given in regards to the social constructs and attributes as fashion is a societal marker of change or tangibly depicts a moment in time.
STYLING SUBSTANCE: EMMA (2020)
For instance Emma 2020, the fashion serves as a storytelling device that aligns with the dynamics of experience, emotional points, and time through quite accurate regency-era clothing with colors to accommodate.
The director expressed visually he wanted the film to be in the image of sugared macarons, “that sense of froth and enjoyment.” Costume designer Alexandra Byrne on this film stated, “[The Regency] was the beginning of fashion becoming a real statement because of the circulation of women’s magazines. So, I wanted her to be the kind of character that has the right clothes for the right occasion, the right season, the right time of day. She can dress entirely at her whim for the statement she wants to make. [..] So, you’d end up with 10 completely different outfits because the result would depend on your interpretation of the drawing, your ability to sew, your budget, etc. It’s that sense of individuality and spontaneity about the clothes.”
Jane Austen was not one to go in-depth on clothing, but the spirit and lightness of the story are very much established in the written word so how each ensemble was worn played a pivotal role. The social ranking of the characters is visibly seen as well as their ways of life.
For instance, Emma removing her glove was a very complex situation, the etiquette expert of the film expressed, ‘We can do that because she could’ve just eaten. And if she just ate, she’d have had to take off her gloves. And maybe when they’re talking, she hasn’t put them back on yet, and then she can dance with her gloves off.’ The social convention is intentionally broken to create a moment of intimacy that is very erotic- the type of moment that is very telling of the character of Emma. Being the “queen bee” type, she would be very conscious of fashion and presenting herself. This heightens the details of the garments in relation to other variables of production such as set or lighting design.
The costume designer on this project intended to not downplay the lavish and more extravagant aspects of period fashion to be digestible for the contemporary eye, but rather went for what was deemed fashionable of this period as it would be the garments sported and ensured it would be true to form down to the details such as bonnets, fabric textures, types of bows, and collars.
For a specific example, the high collars were part of a gentleman’s dress code with an emphasis on well-kept clean lines and an extravagant amount, in the film they are pushed a bit higher for character impact but keep the integrity of the original garment intact.
When the visual is previously defined and meant to be true in execution, to stay away from is a perversion but when only a concept is defined there is much to be explored outside of the confinement of reality. Often fictional will be grounded in reality and inspired by an era, but the fictional events tend to stray away down a path that is much more unique for production or appeals in a differing way with the intent to do so.
INSPIRATION IN THE IMAGE: MARIE ANTOINETTE (2006)
In Marie Antoinette 2006, renowned designer Milena Canonero decided on inaccuracies to be added for narrative purposes as the budget would allow for stylization through impressionist techniques with intent over compromising accuracy for production’s sake. Canonero made the decision to work with true historical dresses then design adjustments to the narrative and creative vision. Since Marie Antoinette was a prominent figure, there was much source material to reference and Her designs also would draw inspiration from Versailles fashion of this period which would then alter the execution of adornments such as the sleeves, bows, and choker. Aesthetically emotions are tangibly captured to provide expressions for a very specific portrayal.
The key moments of the film are like a framework inspired by historical moments that have been embellished with Conceptual and pop culture references convey this, backed with a punk-infused soundtrack and pop aesthetics along with Rococo art references, the arts that are often dismissed or considered frivolous, transform the story into the one on-screen that captures the story of the film. Kristin Dunst stated, “It’s kind of like a history of feelings rather than a history of facts.”
Director Coppola told The New York Times in 2006, “I wanted to make a personal story and not a big epic historical biopic,” after the film had just wrapped I would get bored when it would get sort of too detailed. I didn’t want to get bogged down with history, but to focus on the personal relations between these people. Louis wouldn’t sleep with her, so she wanted to go out and party — like someone in a bad marriage going shopping. It just seemed like the same old story.”
With this, it’s evident that the film is a different one than the true story, the execution of the costumes with the production of this film with roots of 18th-century opulence.
The diverging story and personality are not meant to align with historical accounts to instead focus on a young girl becoming a woman who doesn’t understand her place in the world or how to run a country and instead turns to partying and indulging her position- including the most excessive fashion.
For example, when she is exploring fashion further amongst the shoes cast upon the floor are a pair of Converse sneakers- a symbol of her youth. The deliberate anachronisms both more modern or from other eras are more daring in sartorial decisions but are well suited to the rebellious attitude and journey that this character is embarking on.
NEW LOOKS FOR THE OLD WORLD: ATONEMENT & LITTLE WOMEN
At times, the costume designer will directly focus on the inner world of emotions and abstract reality to create a beauty that allows for a more whimsical and resonating on-screen experience. An example of artistry over accuracy pushed to the limits is the iconic Atonement dress itself is obviously not a 1935 dress but made up of variables of this time in a subtle manner to allow for more emphasis on the body, emotions, and experience rather than the visual through the cut and intensity of the green. The dress is made of incredibly fine silk with detailing that was made of a cut-out pattern rather than embroidery to provoke the thought of removing rather than adding. The elements pay homage to London in the mid-30s, for instance how the cut accentuates the character’s back and shoulders, a distinctive trait of the time’s formal wear.
The only criteria costume designer Jacqueline Durran had to adhere to was meeting the length, lightness, and hue needed. The color is meant to symbolize the emotional states of the two protagonists and envy clouding the situation. Green is not only the color of envy, but psychologically emerald green embodies life, expressing love, and abundance. It also produces a soothing effect on both the mind executed in an elegant manner.
In another film costumed by Jacqueline Durran, Little Women has a similar approach on a grand scale. Many of the characters are noted to sport “remixed” clothing as this is a part of Durran’s process to design sentimental ensembles that are well suited to the narrative and characters stating “keeping it Victorian but not doing it in the way that we’re used to seeing it.” This allows for sentiment to exude the color palettes of the girls that were aligned with each of the notebooks they received. Jo is the key model as she often has her clothing visually represent her mindset through the womenswear that was beginning to carry the tones of menswear. Her sensitivity, recklessness, and intellectual musings causes her to differ from the others- for example how she is never one adorned with a corset, hence freedom of movement and the mind.
The obvious sartorial divide between her and her sisters allows for there to be an emphasis on not just her musings, thoughts, and feelings, but also development and identity. An example of this is how Jo would wear Beth’s clothing after her passing or how she would often share with Laurie. Durran explained “What we were trying to achieve was to emphasize a back and forth of fluidity between the two of them in a way that they were just best friends, and they identified with each other, and they wanted to be the other person, and they shared clothes.” For this film, each was styled to their very formidable and specific identity, the clothing would represent the lives and bonds of the characters with a vulnerability that isn’t so overt, but seen and felt deeply.
CONCLUSION
To be critical of a film purely based on personal opinion of what is beautiful or right, odd or unappealing, or deemed right artistically is to isolate the variable of costume design from necessary context and disregard the full workmanship of the film and all that went into it to produce the overall visual imagery that is meant to capture the story, emotions, and experience of the piece. Costume design is not the same as a fashion collection. A fashion collection contributes directly to our world. Costume design contributes to the created world. The art of stylized costume has allowed for a wide range of differing visuals in our media, each remarkable and notable for their unique offering that breathes a fashionable life into stories of or set in the past for many to enjoy in modern times. Costume designers have defined and revived many period looks to capture the aura and bring to life the character on the screen in a vivid manner, allowing for the narrative to not only make an impact on the eyes, but allow for the story to come into our heart through the experiences and connections they materialize into embraced and beloved designs of very artistic.
