Anyone who is a fan of the film adaptation of Jane Austen’s novels may have a flea behind their ears while watching Netflix’s “Bridgerton” series.
The first-ever attire on balls looks like the Bennett sisters in “Pride and Prejudice”, with their short sleeves, deep necks and waists. But they are almost a Technicolor version of them, with additional layers of brightness and saturation.
This is because in the early 19th century, the series distanced itself from the realities of showing blacks as nobles, when slavery was still in force in the United Kingdom, costumes would also separate this entire historical context. is.
In an interview with Harper Bazaar magazine, costume designer for the production, Ellen Miroznik said that she sought out the current fashion publications scene in the series, which was full of contrast and vibrant color.
This discrepancy in relation to the period is particularly evident in the colors of the costumes, according to Carolina Casserin, professor of fashion and clothing and doctor’s history at the School of Fine Arts at the Federal University of Rio de Janeiro, UFRJ.
She claims that Egg Tale-like strength tones that Fellington’s youngest Penelope, her mother, was bound to wear were also not viable for the textile technology of the time. They started appearing on clothes in the middle of that century, with only the manufacture of artificial dyes.
“Of course, there was purple already, for example,” says Kasserine. “But it means luxury and power precisely because it was very difficult to obtain.”
The same goes for the luxurious clothes of Playboy Duke of Hastings. Their embroidered vests and colorful jackets attract attention because they do not adopt the neutral colors that have become the norm in the male wardrobe – black, brown, brown.
In their case, however, the art team seems to go back in time rather than move forward, says Kaiserin. It was the nobles of the old regime who wore colorful and printed clothes, which resulted in the clothes being similar to women of the same time, according to the teacher. “Men’s and women’s clothes differ only after the French Revolution.”
Already there are light tones that young female Daphne parades were the most common. And not only expressing the sanctity of a young woman in search of a suitor.
Kaiserin states that white pieces were valued in the wardrobes of both sexes because they communicated cleanliness and as such, money – as the nobles did not work, meant that someone cleaned it.
The volume of the hero’s clothes is also very faithful to the times. Miroznik told Harper’s Bazaar that Daphne has 104 different costumes. The chain has approximately 7,500 items of clothing and accessories.
“We need to remember that women changed clothes at every event that they attended, which took place indoors,” says Kaiserin.
However, she states that even productions that are more confident of historical reconstruction cannot be labeled as realists. In part, because there are also representations such as reference drawings and reports often used for their expansion.
Also, “The further we go back, the worse the clothes go,” says Kasserine. Therefore, any well-fitted dress on the body is not realistic. “But of course, no one is getting these actors dressed badly.”
