ADAPTING HISTORICAL DRESS FOR THE SCREEN

Sew What | Annie McCarron

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In a summer that was not at all as I had planned, I have turned to the comfort of losing myself in different historical TV shows and movies. From an early age, my mom instilled in me that a period drama equals comfort and escapism, and I have been privileged enough to allow myself to become absorbed in different time periods in between zoom classes and essays this summer. I have always been fascinated with the costume design of these movies and shows, and how it aids in storytelling. Costume designers work closely with directors to make their vision come to life on screen. Period pieces allow the viewer to see fashion of bygone eras in motion when they might not otherwise get the chance. Within the museum context, costumes are often statically portrayed, to emphasize that they are costumes and not real worn pieces.


Usually, I am someone who needs historical accuracy in costuming — I was often pulled out of the new Little Women movie by Greta Gerwig distracted by the lack of proper bonnets and head coverings — but sometimes historical inaccuracies can be beneficial for characterization.

Catherine and the ladies of the Russian Court. Still from the Great

These past few weeks my housemate and I have been watching Hulu’s The Great, by writer and

producer Tony McNamera (The Favourite). It is a satirical comedy about the marriage and rise of Catherine the Great, from outsider to Russia’s longest reigning female monarch. Loose with the facts and historical accuracy, The Great provides fast-paced, enjoyable escapism. The costuming is lush and evocative, with elements of modernity.

 

Catherine (Elle Fanning), wearing a Dior inspired coat. Still from The Great

Costume designer Emma Fryer kept the traditional European silhouette of the time that the Russian court copied, and spent lots of time in libraries and museums researching imperial dress. Fryer also mixed her designs with modern details such as incorporating fabrics and styles that were not traditionally used in the period, and drew inspiration from Victoria & Albert’s Exhibition on Christian Dior. This influence can be seen in the rich colour palette of the costumes, as well as in stylistic elements present in the series.

Catherine (Elle Fanning), still from the Great 

Catherine’s style evolves throughout the show. Fryer starts her off in pastels and soft lines, a contrast to the wider silhouette and rich jewel tones and winter fruit colours of the rest of the court. This is meant to highlight how different and naïve Catherine is compared to the rest of the court. The rest of the court ladies wear gaudy makeup, and off-centre wigs, highlighting their frivolity and vapid nature, and connecting them together visually separates them from Catherine. As Catherine starts to scheme and fit in at court her style starts to change; her colour palette becomes richer and her style more relaxed. She has become at ease in herself and assured of her enlightened views and manipulation of Peter.

Peter III of Russia (Nicholas Hoult). Still from The Great.

In contrast to Catherine’s light coloured outfits, Peter’s fashion is dark and unpredictable, much like his character. Portrayed as a mad king subjecting his court to his every whim, the costuming reflects this volatility. Usually dressed in the 18th century designs, Peter's clothes are often made of modern material and animal prints to play up his volatile nature and debauchery, with fryer saying she was inspired by the “crazy punk rock n roll look.” Here, the use of modern items and slight historical inaccuracies serves to remind the viewer that this show is not an entirely true story, but rather a satirical re-imagining.

Catherine in the final episode. Still from The Great.

Colour is an important tool used by costume designers to show connections and disconnections and to illustrate changes. Selecting the correct colour palette can enhance the story’s message. We have been socialized to associate certain colours with feelings and emotions; red for passion, yellow for happy, blue for sad. These are important to know while telling a story so that you can use them to your advantage, whether to follow their cues or to use these preconceived colour notions and flip them on their head.







Sometimes, bending the accuracy of costumes works well in engaging the viewer. Other times it can completely taint your opinion of a piece. Accuracy, or lack of, can greatly influence a viewing experience. Costuming inaccuracy can be done to enhance a story, or sometimes to appeal to current trends, as there are many historical fashions that modern viewers do not find appealing or sexy (long powdered wigs anyone?). 

Shows such as The Great leave me wondering how museums can bring the static displays of costume to life?

If you’re interested in reading more on this topic, check out the Costume Vault blog post on Historic Accuracy in Costume Design: The 16th century, where the author explores their own feelings around costume design in period pieces.