The Costumes of Anne | Behind the Scenes

Amazon II is a Canadian drama television series based on the 1908 novel Anne of Green Gables by Lucy Maud Montgomery and adapted by writer and producer Moira Walley Beckett for the CBC and Netflix according to Wikipedia the story takes place in the late 19th century but a clever viewer noted that the calendar in the first episode is dated 1896 let's get right into the costumes but first there are major spoilers for all three seasons of Anne with Annie in Canada and with Annie has a lot to live up to considering there have been multiple adaptations of the story for TV and a famous musical that has been performed since 1965 at the Charlottetown festival in Charlottetown PEI the 1985 adaptation produced by Sullivan entertainment and starring Megan follows is likely the best-known and went on to generate sequels and a spin-off series road to Avonlea I thoroughly enjoyed this series and it's fresh take on the source material the best part of the series for me is the triad of Matthew Marilla and of course Anne and the actor that played their roles I was gobsmacked to learn that Amy Beth McNulty who portrays an is Irish born and Janna couldn't even detect a trace of an accent in her delivery but my absolute favorite character has to be Rachel Lynde performed by Karen Koslow the hair and wigs are exceptionally good all of the adult women had their hair pinned up while all the young girls had their hair down with the exception of Anne of course who wore her hair in braids the 1985 version never quite nailed the hair of the period in my humble opinion the transitioning of the different stages of Anne's hair was really well done there was only one point that I could tell that Anne was wearing a wig wearing what they called baby braids I'm sure the average viewer wouldn't have noticed though and then there was one scene when after Geraldine James who plays Marilla had her hair down that I could see that it was half dyed with color and I'll admit that I wasn't a fan of mr. Phillips wig here's an example of a man's hairstyle from 1900 the costumes were created for the screen by Canadian costume designers and Dixon in season 1 and Alex Rita in seasons two and three the setting costume sets and props were highly immersive something that I'm always hopeful for when I'm watching a period era story Maritime Edit wrote and Anne in behind the scenes piece that the actors find it very easy to get into character because they know that the costumes are authentic and their surroundings feel authentic and historically accurate showrunner Moira Walley Beckett told maritime edit that that was a mandate out of the gate I wanted us to smell the ocean of the Maritimes I wanted red soil everywhere I wanted that soil on the boots and on the hems of the skirts while the Beckett added my cast don't wear makeup except for Amy Beth's freckles designer and Dixon said and a behind the scenes video that a huge portion of our costumes were made in our shop and the reason why is that we were trying really hard to get the feel of Pei mid Victorian Edwardian to get that pulse we wanted to have the natural feeling of it the rawness of it and even the cuts we worked really hard on getting some specific shapes because again it's not high fashion it's rural it's working-class executive producer Miranda depends ca said that and Dixon has a beautiful eye and she's able to take the best ideas from that period and bring them to life with a pallet and a gorgeous look but real and they're going to transport people to feel there truly there in that time Dixon seems to find that balance between storytelling and historical accuracy stating that when you do a period piece what is interesting is that you're not doing a documentary you are not trying to create exactly what it was it's character so you're trying to embellish you're trying to heighten what is written in the script you do take some licenses because the bodies are different than they were then it's just to enhance the storyline you can put your little twist which is quite fun meanwhile Alex Rita said that it's a really fantastic show as a costume designer to do we actually build so much of what you see on camera so it all gets pre dyed and then we have amazing breakdown artists that paint things and / dye them and we send them down so it all looks like it's been worn for years taking the helm in season 2 Alex Rita said in a behind-the-scenes video that his design process goes something like this once the script comes out I go through the script and do a breakdown of all the cast that's going to be required and the locations that were shooting at and so on I actually come up with actual general concepts for each of the characters in all of the scenes that are to take place he said I have a meeting with the producers and the director and the writers in terms of what their vision is and actually come back and I figure what we can access through rental of costumes versus what I need to build for each of the characters that's in that particular script if we're going to build the costumes then I actually do drawings for them i source the fabrics and then from that point it actually goes to her cutter and she makes the patterns based on the drawings that I give her we do fittings and alterations and we break everything down on the show to actually age it to make it look like it's been worn before for years just to sort of give it that authentic feel Rheda delights in the one challenge of season two's saying that party it was such a great sort of departure from what we'd normally see on the show because we were able to take a sort of slice of society and do whatever it was that they wanted to do in the safe space of Josephine's house i was able to create pretty outlandish costumes that we would never see in a farming environment he said we built these wonderful flower crowns but Shino took weeks to do and they were all handmade and hand-painted and we built over 1,500 individual flowers to go in these crowns for the heads of the gasps of this party Rita added we actually made hair braids and created a birdcage out of hair for some of the hats we actually source real found flowers and grasses and feathers to put in the hats with a show like this you always have to be aware of what would have actually been available to people because it's Pei in 1898 we're not in New York we're not in Paris you have to sort of use your imagination to figure that out for marilla's season one costume here are antics and storyboards from her website Dixon said marilla smock coat which she goes milking the cows with the fabric was brand new and then we have some details that was important to me it's about the reality of it as well marilla's coat is similar to this 1910 duster from the McCord museum in Montreal this is Dixon's costume design and move Board of marilla's other looks most of merliss dresses and blouses are made from printed calico fabrics just to give you some context here are a few examples of late 20th century printed cotton day dresses actor Geraldine James who plays Marilla stated that her costumes help her get into character she said when you have the costumes you're working in when they feel so right for the work you're doing honestly it's like half your work is done along with her dresses Marilla also wears calico printed shirt waists a type of blouse according to FIDM the Shirtwaist first emerged in the 1860s as a casual daytime alternative to the matched bodice and skirt ensembles worn by nearly all well-dressed women most frequently worn by young women the Shirtwaist was usually paired with a dark colored skirt and accessorized with a belt or sash Marilla Don's a rather masculine leather cincher belt a statement piece that she wears consistently for three seasons boots are the footwear of choice for all of the women men and children of Avonlea according to McCord Museum in 1890 in Canada the production of shoes increased to more than 2.5 million pairs montreal and occupied 60% of the canadian footwear market about 1888 a working-class family spent about sixty to seventy percent of its income on food 21 percent on rent and 11 percent on fuel the remaining money what there was of it was used to buy clothing and shoes in season 1 Matthew has essentially two looks his good dark suit that he wears to pick up an from the train station and his farmer outfit there's lots of layers here he wears Henley undershirt collarless shirt trousers waistcoat and a neckerchief Dixon also created a linen sack coat to wear over his work clothes for messy work in this picture on the Left we see that after orig Thompson is wearing both braces and a leather belt to hold up his pants you can see how high-waisted the trousers were in the late 19th century and that the front would always be a button fly I really love this oiled leather jacket that Mathieu wears on colder days Mathi has a few bowler hats that he wears here are two examples of this type of felt hat from the turn of the last century these toe-cap rogue style boots are the typical style worn by men during this period to give you some context here are a few examples of the silhouette of women's dresses from the late part of the 20th century more importantly it was the under structures worn by the women that gave us this exaggerated nip waist full hip jessica Glasscock writes in her essay for the costume Institute at the Metropolitan Museum with the increased reliance on steel boning and ever more complex piste construction the corset became capable of delivering an armored underpinning to conform the body to an hourglass silhouette the innovations in corset construction also allowed for more pressure to be placed on the waistline than had been possible in the 18th century Alex Rita said it was great to not have aunt Josephine wearing a corset for this episode which is a huge deal for that period fashion writer Dolores mone writes that the aesthetics viewed corsets and the rigidity of the day as unattractive and artificial it was an essence of fashion revolution aesthetic dress was a fashion movement in the second half of the 19th century that rejected highly structured and heavily trim Victorian trends in favour of beautiful materials and simplicity of design like we see with aunt Josephine scam in this painting by William Powell frist we see examples of this style of dress the John Wright collection states that the characteristics of aesthetic dress which these gowns tended to incorporate can be seen in this example a style based on medieval their classical dress loose and appearance made from fine soft fabrics and subtle colors and embroidered in distinctive stylized designs foundation garments are the unsung heroes of costume design because they are rarely seen but create the correct silhouette much is made about the corset throughout the three seasons of Anne with Annie and its themes of coming-of-age and female modesty in contrast to Victorian dress reform like we see with Miss Daisy so you'll notice that all of the adult women and n with Annie wear corsets there are only two exceptions mentioned in the show miss Stacy and mrs. Barry in a behind the scenes image here is showrunner where our Wally Beckett getting fitted in a corset when she was called upon to step in for a background role in typical Canadian fashion she's wearing it over thermal long underwear this style of bone corset pictured here was called a long short corset because of the height of the sides it featured a front busk with back lacing the corset on the left sold for $1 in 1899 the corset was born over a chemise made of cotton or linen that absorbed sweat and oils and created a barrier between the skin and the corset which was never washed here's another example a stunning embroidered corset trimmed with lace from Augusta auctions just because it was hidden didn't mean that it couldn't be beautiful here are two examples of corset covers from accord Museum according to underpinnings Museum such a garment would have ordinarily been worn over a course that you concealed the course of color and lines from showing through outer garments corsets were often brightly colored and hardware such as busks and petticoats could create unsightly lines through fine fabrics I suspect that an N with an E that they didn't use course that covers because in a scene with Eliza berry and one with Marilla I could easily see their corset lines through their blouses part of a woman's underpinnings wardrobe would also include cotton or linen drawers either opened or closed and long petticoats like we see pictured here these are often the McCord museum miss Stacy's masculine style silhouette is looked down upon by the less than progressive mothers sewing Club McCord Museum states that by the late 19th century taboos against cross gender dressing for women had eroded like a riding habit a tailor-made suit was usually of wool incorporated obviously mannish details though it fit like conventional women's clothing it was worn with a Shirtwaist blouse modeled on a man's shirt and a ribbon tie the allusion to menswear was obvious even though Winifred Rose is a minor character I thought I would include her because I just loved her costumes this particular outfit appears to be influenced by the nautical look originally initially intended as children and boys clothing in the early 20th century America sailor dresses were very popularly known as Peter Thompson dress after the former naval tailor credited with creating the style I especially love when he's t hat according to the McCarney seeum following fashion trends set in France Canadian women of Muse could be seen at sporting elaborate intentionally eye-catching head pieces in 1872 one such journalist described a typical bonnet of his day as that meaningless little nutshell outrageously decked with bunches of ribbons flowers feathers which gives at present to our wives and daughters so alarming a look of insanity McCord also states that keeping your head covered is an almost universal sign of female modesty and in the 19th century Canadian women were equally subject to this unwritten law yet ironically some of the most stylish women's hats were anything but modest speaking of hats mrs. Eliza berry has some of the finest hats and outfits in Avonlea sadly production took very few stills of her costume so I've raided actor Helen John's Instagram feed for some pictures here is aunt Dixon's mood board and fabric swatches for the Avonlea girls schoolyard costumes their costumes are color blocked throughout the three seasons wearing pastel cotton prints with hues derived from wild flowers of Pei and offset by white frilly pinafores while often decorative the main purpose of the pinafores was to keep the dress clean during school and chores these girls dresses are examples from the turn of the century and the late 20th century this is an example of a pinafore from the Met Museum in New York this one is made of dotted Swiss sheer linen or cotton fabric as costumes are largely in an earth tone palette to start while their best pal Diana Barry is in shades of blue with many of her dresses offset with crisp white accents of trim and lace ruby gillis rounds at the Triad in shades of pink saw France and russet Browns and then the remainder of the gaggle of girls says as josie pye are dressed in lighter hues of lavender with lightly printed motifs soft yellow ginghams and solids like we see on Jane Andrews and florals and earthy greens on Tillie Boulter in warmer months all of the Avonlea school girls are allocated straw boaters and Capel ATS befitting the periods here are some examples of straw hats a very popular style for girls and adult women and saw a boater is very similar to this woman's braided straw and silk ribbon woman's hat it came from T Eaton Company Limited a canadian retailer founded in 1869 that was once Canada's largest department store chain and in winter months with the exception of an the girls of Avonlea dress in woollen and velvet coats with built-in shoulder capes accessorized with knitted Tam's and scarves Anne's coat is very simple with that the flourishes of the other girls costumes here's an example of a winter wool jacket and skirt from Augusta auctions all of the girls are wearing starched white petticoats and bloomers or drawers presumably they would also wear a chemise like an undershirt like we see on an in a few scenes the girls also wear white stockings held in place with leg garters although in seasons two and three we occasionally see gray or black stockings my understanding is that no matter the season or the dress girls and boys would wear black stockings because white would be very impractical and hard to keep clean in rural areas so my thought is is that this was likely a design decision while it's mentioned in the story girls in Avonlea do not wear corsets until they come of age while in England young girls began wearing training corsets around age 13 so it's likely then an older girl like prissy Andrews would be wearing something like this child's corset waste from the McCord museum here is Anne Dixon's costume design and mood board of Anne's costume from season one she said in a behind-the-scenes video then you have Anne's iconic little dress we wanted to have storyline behind that and had only one dress and then she had outgrown it you see the different lines where the hem would have dropped proportions are a little smaller it's a little bit tighter but you just get this feel that she's been in this dress for ever and hears many stories in this for Anne's iconic puff sleeve dress the New York Times wrote that showrunner Wally Beckett went with a willow green and Azure blue color palette for Anne's dress which she knew off the top of her head and Dixon thought that satin would be too much and too reminiscent the 80s series saying that when Megan follows comes out it's so big it's true that her dress looks surprisingly overwhelming on her little frame this new design with its delicate lace ruffle and appliques free from 80s polyester as Wally Beckett describes it feels more anchored in the realm it's not to say that synthetic silks such as rayon weren't a thing in the late 1800s but they didn't become widespread until well into the 1900s white eyelet pop sleeves with blue accents was the color used in the musical so it seemed logical that Anne's dream dress would be up similar colors like we see with Diana's dresses including the one that she borrows from Diana in season three in the book and describes the dress color as a lovely soft Brown Gloria with all the gloss of silk with two beautiful puffs / rows of sheering and bows of brown silk ribbon in the end the design team went with this muted green and move dress with ivory lace accents costume designer Alex Rita says of season 3 and having grown out of her orphan look was really exciting to see and because she's such an iconic character it's a huge pressure to actually figure out what an becomes after being the orphan Rita said we actually did really beautiful little hand embroidery on pieces and small details that would have been created by Marilla so it all needs to have a story in behind it it has to have come from somewhere and somebody's had to have made it and where did they get that fabric and why it's that color it's a huge amount of small details this lady's suit with a matching hat board from an Josephine is Anne's first foray into adulthood a moment of dress-up before actually taking the plunge as the girls grow and come of age the skirt length drops the color palette becomes more intense they're now fleeting innocence intended with a more mature silhouette I love that Marilla made this royal blue velvet outfit for Anne because while Matthew was having a difficult time coming to terms with Anne moving on to college Marilla is all in as a mother having changed right alongside Anne here's a close-up of Anne's parasol and then we have two parasols in the McCord museum from the same era I would have liked to have seen a different color for Diana aside from blue because at this stage for her character she has also evolved so a bold new color for a bold new century besides Matthew I haven't touched on the man too much mr. Andrews is pictured here wearing a three-piece sax suit and while he doesn't know it he himself is actually challenging the status quo as well according to the McCord museum the SAC coat which is the forerunner of the modern suit jacket was introduced in the 1960s unlike the frock or morning coat the sack was commonly worn with matching trousers and waistcoat at the end of the 19th century young men who had the audacity to challenge the dominance of the morning and frock coats began to favor the sack for everyday business wear bash and Gilbert's costumes are usually kept simple colorless shirts and vests trousers suspenders and boots this jacket I don't know if it's historically accurate but I really like it this appears to be the precursor to the Sudbury dinner jacket which is Canada's unofficial uniform here are a few examples of colors and ties from the late 19th century for significant events both bash and Gilbert ad collars ties and jackets and while bash wears a bowler hat Gilbert wears a few variety of hats like the poor boy or newsboy style of hat the mcore Newseum states that this is the type of hat often worn by newest boys it had the advantage of being light and warm many models had retractable ear flaps that offered additional warmth in long winter nights a definite must in Canada's climate the costumes of gag wet and the magma really requires its own video because the eastern woodlands indigenous peoples in Canada have a history and a culture that requires extensive research so for now I can offer you a few historical artifacts that I found in the collection of the McCord Museum I will leave a link in the description below if you are curious about their culture and would like to explore this further from what I can tell the design team at Anne with Annie did their research these bright and colorful costumes appear to be accurately recreated according to the McCord museum after 1600 the magma were able to obtain European trade goods such as wool cloth blankets thread needles and glass beads it was not long before MIG ma women had replaced their traditional skin clothing with new styles made with the new materials they created a particular outfit reserved for special occasions it included a wool skirt and bolero or jacket decorated with silk ribbons and glass beads the coat on the left looks just like the one worn by gag wets father while these caps especially the one on the right look very much like gag wets what were your favorite and with any costumes let me know in the comment section below thank you for spending time with me I'll see you in the next video [Music] [Music] you

Channel: Costume CO

Views: 21,398

Rating: 4.9711885 out of 5

Keywords: anne with an e costumes, anne with an e costume designer, anne with an e puffed sleeves, Anne of Green Gables, Lucy Maud Montgomery, cbc television anne with an e, anne with an e netflix, amybeth mcnulty, anne with an e green hair, anne with an e ka'kwet, Anne with an e marilla, Anne with an e matthew, anne with an e cbc, anne with an e costume designs, anne, anne cuthbert, anne shirley cuthbert, the costumes of anne, The Costumes of Anne Behind the Scenes

Id: znPc_8o-D9o

Length: 28min 6sec (1686 seconds)

Published: Thu Mar 05 2020