Costume Design Embraces Anachronism in Film

Emerald Fennell's film "Wuthering Heights" features costume designs that incorporate anachronistic elements, drawing attention from critics. Oscar-winning costume designer Jacqueline Durran stated that the film's costumes do not aim to represent a specific historical moment.

Oscar-winning costume designer Jacqueline Durran stated that the film's costumes do not aim to represent a specific historical moment.

Cathy's costumes, for example, were inspired by various fashion periods, including Thierry Mugler and Alexander McQueen.

This approach aligns with a broader trend in costume design where creative freedom is prioritized over strict historical accuracy. Other examples include Kate Hawley's work on Guillermo del Toro’s "Frankenstein," Holly Waddington’s designs for Yorgos Lanthimos’s "Poor Things" (which utilized modern fabrics), and Milena Canonero’s inclusion of anachronistic footwear in Sofia Coppola’s "Marie Antoinette."

The "Bridgerton Effect"

Theatre and film historian Keith Lodwick attributes the "Bridgerton effect" as a significant catalyst for this trend, characterizing the series' costumes as a "fantasy version" of Regency-era fashion.

Theatre and film historian Keith Lodwick attributes the "Bridgerton effect" as a significant catalyst for this trend, characterizing the series' costumes as a "fantasy version" of Regency-era fashion.

Lodwick suggests that periods requiring fantasy in the wider world often correlate with more expressive costume design in film.

Debating Historical Accuracy

Some experts, such as Helen Walter, a costume and visual historian, indicate that the extent of this shift may be overstated, noting that costume design frequently reflects the era in which it is created. Oscar-winning costume designer Sandy Powell highlights the challenge of true historical accuracy due to the unavailability of period-appropriate fabrics, stating that she prioritizes visual effectiveness over strict adherence.

Walter notes that costume design is influenced by fashion and cultural trends, with designers ultimately guided by the specific film. Powell describes her approach as doing "whatever feels right for the piece" and mentions her upcoming work on "The Bride!" will be period-accurate but with an anachronistic mood in how clothes are worn.

Powell describes her approach as doing "whatever feels right for the piece" and mentions her upcoming work on "The Bride!" will be period-accurate but with an anachronistic mood in how clothes are worn.

Artistic Interpretation and Audience Connection

Waddington suggests that design less driven by accuracy can create a more distinct identity and offer a "poetic response to the text." Powell finds such design enjoyable when executed effectively.

Holly Waddington disagrees with the idea that modern costumes help contemporary audiences connect better with period films, instead viewing the opportunity to bring a historical period to life as a form of "time travel" for the audience.

However, Waddington disagrees with the idea that modern costumes help contemporary audiences connect better with period films, instead viewing the opportunity to bring a historical period to life as a form of "time travel" for the audience.