Spoilers for winter three, portion two follow.
A string trio playing one of Coldplay’s most unpleasant earworms, as well as a stunning dress in which to move down the aisle, are nothing more than a perfect example of a Regency marriage. Such is the state of Penelope’s betrothal to Colin in the of Bridgerton‘s, with the couple overcoming some major Whistledownian revelations to exchange their “I dos” and live together in the holiest (and hottest) state of matrimony. Costume custom John Glaser was aware of the limitations of Penelope’s satin wedding dress when he began to find the ivory favored by Bridgerton brides. “Wedding dresses at this time weren’t always white,” he says. Simply put, the contemporary audience perceives them as light.
“We started it off with a pale blue because she was marrying a Bridgerton, but it didn’t look quite right”. Photo: Liam Daniel/Netflix
With record on his part, Glaser experimented with colors that would likewise fit actress Nicola Coughlan’s body tone and Penelope’s modern design evolution. “We started it off with a pale blue because she was marrying a Bridgerton, but it didn’t look quite right,” he explains. Glaser describes the gown color as both red and cherry, a shade chosen important to impress Coughlan’s features. You have the Bridgerton community wearing only violet on one side of the church, and the Featheringtons are wearing their garish colors on the other. No one in that globe wears what we’ll visit’ fruit. “Her bridal veil is off-white for another purpose. She would have appeared like a nurse walking down the aisle with a light veil if the dress had been light. This means the shroud becomes an voice.”
People were mistaken about Penelope’s siren-style or Featherington elegance from the beginning of the season. “We thought, All is expecting some over- the- best bridal dress, but that’s not who she is again. It’s like the most stripped- down edition of a gown. It has to be beautiful and unforeseen,” Glaser adds. “It’s not a caricature, and it’s not covered with flowers and trim. Simply put, it’s a lovely design to give her body the same level of beauty as we could.”
Hair- and- cosmetic developer Erika Okvist extended that policy. “We wanted to make her look as refined, beautiful, and loving as possible,” she explains. We applied beauty that was consistent with the dress’s shade. With the locks, we considered how it would appear with the dress décolletage as well as how it would appear with the veil. It was very carefully thought out where all the locks or ripples would go. This is especially satisfying when Penelope pulls a and spins around the ballroom with her new husband after taking half of her dress off at the reception breakfast. “The costume, beauty, and tresses should be a visible music that works up,” Glaser says. And for the ultimate touch, “teeny- little opera gloves, just like an fantasy. We wanted to present her body,” Glaser adds. Most crucial: “We wanted to keep it simple, basic, simple.”