“I’d worked with Shondaland before, so I knew it was going to be a mix of fantasy and history and that we’d have the budget to do it properly,” said costume designer Ellen Mirojnick.
Netflix’s global streaming hit “Bridgerton” was envisioned as a massive project from the start. Ultimately viewed by 82 million households worldwide, the eight-episode series is adapted from the wildly popular Julia Quinn romance novels and tells the tale of an early 1800s British family’s social aspirations. Veteran costume designer Ellen Mirojnick jumped at the challenge to work on such a bold series.
The luxurious “Bridgerton” designs mix Regency period with modern color, drape, pattern and style in a confluence of historical accuracy and make-believe. “It’s the biggest show I’ve ever done, and I’ve done some big shows,” says Mirojnick. “I’d have to say it was a once-in-a-lifetime experience.” Would you describe “Bridgerton’s” costumes as historical with a fantasy overlay or fantasy with a historical overlay?It’s a fantasy that takes place at a historical period of time. I knew this project was going to be a very expensive endeavor and, knowing Shondaland, it’s a different perception of how you create a time period; it’s never a history lesson. It’s an adaptation of the story just as the costumes are an adaptation of 1813 London Regency centering mostly on the upper crust of society.
The Featheringtons’ colors were first marked by how they were written. [Showrunner] Chris Van Dusen interpreted from the book that they wore “acidic” colors. Penelope and the Featheringtons are of new wealth, don’t have the pedigree, want to be seen as part of society, and their interpretation is a little louder. No insult intended, because I love this designer, but they’re kind of the Versace of the time.
Are you aware of all the opinions, controversies and general discussions surrounding mixed-period worlds such as “Bridgerton”? All of the cosplay?I thought we’d get slammed. When we first were coming on air, I thought, “Oh, no, they’ll criticize this, they’ll criticize that — ‘This isn’t real, that’s not real.’” I’m always aware of every single criticism amidst the applause. I’m aware of it all. The cosplay has been absolutely great fun. But this was one I was really scared to do.
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