Gwyneth Paltrow as Emma, costumed by Academy Award nominee Ruth Myers.

Fashionable Emma Woodhouse: Costuming Austen’s Emma Adapted

Before the 2009-2010 BBC Emma miniseries came out – and before I’d even started this blog – my friends Vic and Laurel Ann of Jane Austen Today kindly asked me to do a quick piece about costuming in the three previous major adaptations of the novel: the 1971 BBC tv miniseries starring Dorin Godwin, the 1996 Miramax theatrical release starring Gwyneth Paltrow, and the 1996-1997 A&E/ITV movie starring Kate Beckinsale.

It’s based on a previous article on Emma costuming I prepared for Ellie Farrell’s excellent Celluloid Wrappers site, which is dedicated to film costume. Eventually, I’ll be adding a section on the Romola Garai Emma to that article.

Me! In Ionic chiton, performing Lady Emma Hamilton's "Cleopatra Seduttrice" attitude, based on Rehberg's drawing. I forgot to take off my glasses, durf.

Because I love Greco-Roman antiquity, I needed to make myself a chiton. Because I’ve performed Lady Emma Hamilton’s famous, classically-inspired tableaux vivants twice in the last twelve years, I needed to make myself a chiton. Because chitons are awesome and I like them, I needed a chiton.

By this point in the blog post, you might be asking yourself, “What the heck is a chiton? Who is Lady Hamilton? And those “tableaux” thingies?” I know it sounds like a strange combination of ideas, but it’s honestly not as complicated as it seems. In fact, the chiton – a very simple women’s  (and men’s!) garment originating in ancient Greece and widely used as a basic dress or underdress for women in Roman eras – is extremely easy to make and wear. But I’ll get to that in a second.

Emma, My Inspiration

Rehberg's drawing of Lady Emma's "Cleopatra Seduttrice" attitude.

First, the Lady Emma part of the explanation. Our English Regency society puts on various events dealing with events and culture from the late Georgian period of British history. In the course of preparations for a ball honoring the great naval hero Lord Horatio Nelson, I somehow got roped into playing a role. And not just any role; I would be recreating Lady Emma Hamilton’s famous “attitudes.” Lady Emma performed these silent tableaux from 1787 through the 1790s and into the early 19th century, sparking several high-profile imitations and influencing modern dance and other forms of performance art over a hundred years later. Now, this was 1999 and I was crazy busy trying to finish my last year of law school. The last thing I probably needed on my plate was a performance of some sort, but for Emma Hamilton I made an exception.

"Rebecca al Stagno" - Rebecca at the well. My version.

Not only was Lady Emma one of the most celebrated women of the late 18th and early nineteenth centuries, she was also among the most scandalous. With humble beginnings and a sordid past, Lady Emma – born Amy, or Emy, Lyon in 1765 – is infamous for both her affairs with notable British men (not the least of which being Lord Nelson himself) and her often-seedy early career as a performer and artists’ model.

Painter George Romney’s sensational portraits of Emma – usually posed as a personification of a classical virtue, or as an historical figure, pagan deity, saint, or fictional character from antiquity – garnered her quite a bit of male attention. In fact, her growing reputation as a beauty and neoclassical muse, thanks largely to the circulation of engravings based on her portraits, paved the way for her relationship with (and eventual marriage to) the British ambassador to the Kingdom of Naples, Sir William Hamilton.

"Rebecca al Stagno" - Rebecca at the well.

Art history professor John Wilton-Ely proposes that Sir William, an obsessive collector of classical antiquities, considered Emma “a personification of the beauty of classic art.” Wilton-Ely indicates that Hamilton essentially “collected” Emma as he might collect a beautiful Greek vase, eagerly “inheriting” her from her previous paramour and his nephew, Charles Francis Greville. Fittingly enough, Emma’s “attitudes” – which she developed in partnership with Hamilton – essentially allowed her to become the sculptures and vase-figures that her husband so adored. As Wilton-Ely puts it, it becomes a Pygmalion story in reverse.

"Dryad Esaltata" - Exalting Dryad - my crappy version, with a maenad-ish grapevine wreath informed by Romney's painting of Emma, below.

Lady Hamilton’s classically-inspired sittings for Romney were the background for her delightful tableaux vivants, but it was Sir William’s interest in Greco-Roman art and Lady Emma’s growing role as social fixture and unofficial diplomat at the Neapolitan court that presented her with this opportunity to strike out beyond mere model’s poses. In Sir William, she had an encouraging mentor and knowledgeable advisor on artistic matters. He was also a source of social legitimacy, as their marriage in 1791 transformed her from a mistress of dubious reputation to wife of a British ambassardor. As such, Emma found ready audiences in the Neapolitan court circle and a new kind of popularity. In addition to her relationships with Sir William and Lord Nelson, two respected allies of the Neapolitan royal family, her friendship with Queen Maria Carolina provided her with a unique kind of political capital at court.

"Dryad Esaltata" - Exalting Dryad.

Evolving from her earlier static poses as an artists’ model, Emma’s “attitudes” can be described as a fluid, rhythmic series of brief poses evoking famous women and events from antiquity. Wilton-Ely suggests that in coaching Emma’s tableaux, Sir William was attempting to recreate Roman pantomime, a dramatic art that combined silent acting with elements of dance. Usually, the poses and minimal props that Lady Hamilton engaged were direct allusions to specific pieces of art (everything from Roman wall paintings recently excavated at Herculaneum near their home in Naples to Roman sculpture, Greek vases, and Old Master paintings), authenticated by Sir William’s knowledge of classical antiquities.

Pietro Novelli's drypoint sketches of the Attitudes of Lady Hamilton.

Bringing Back the “Attitudes”

Lady Emma Hamilton as a Bacchante, by George Romney. The painting features Emma as a maenad. Her wreath greatly informed me in creating mine.

When I first portrayed Emma, I used Drawings faithfully copied from nature at Naples by Friedrich Rehberg – a collection of classical tableaux featuring several of Lady Emma’s most famous “attitudes” – as a source for my poses and a rough guide as to how I might dress. Paintings by Romney, Elizabeth Vigée-Lebrun, and others also contributed to the look and feel of the ensemble. We also had period comments from visitors to the Hamiltons’ home in Naples as to the nature of her tableaux and costume:

She wears a Greek garb becoming her to perfection. She then merely loosens her locks, takes a pair of shawls, and effects changes of postures, moods, gestures, mien, and appearance that make one really feel as if one were in some dream. Here is visible complete and bodied forth in movements of surprising variety, all that so many artists have sought in vain to fix and render. Successively standing, kneeling, seated, reclining, grave, sad, sportive, teasing, abandoned, penitent, alluring, threatening, agonised. One follows the other and grows out of it. She knows how to choose and shift the simple folds of her single kerchief for every expression, and to adjust it into a hundred kinds of headgear.

~ Johann Wolfgang von Goethe, poet

"Reflessione" - Reflection. My version = trying really hard not to laugh.

In opposition to Goethe’s rememberances of Emma’s originals, my attitudes weren’t at all fluid; in fact, we decided to play them strictly frozen – like a more traditional tableau, as if I were a piece of Greco-Roman statuary – with a curtain to mask each transition. We felt it would be easier for me to replicate the poses this way. If I ever manage a third performance as Lady Emma, I’ll revamp my scheme to incorporate a more fluid routine and lose the curtain.

The Costume

When I made my first Lady Emma costume, I figured I should go with something flowy and at least vaguely Grecian, to keep with Goethe’s description and some of Emma’s various period images. The chiton is easy to make, and it moves dramatically without being uncomfortable or overly draggy, so it seemed an obvious choice.

"Reflessione" - Reflection. Emma seated in an ancient Greek chair, or klismos.

I made my first chiton out of a drapey cotton; I should have used linen or silk, but it was the best I could do at the time. While Emma’s costumes were usually simple Grecian-style or Neapolitan peasant-inspired gowns (long, sleeved chemises, essentially) worn without underpinnings, I needed some sort of security against slippage. I wore it over a late-Georgian (Regency) corset and chemise and used an Indian shawl as a stand-in for a himation (cloak or overwrap).

My second incarnation, pictured on this page, was an opportunity to improve on the deficiences of the first costume. I wanted to make it as period correct as possible so I could wear it on occasions requiring ancient Greek or Roman dress. By the sixth century B.C., the Ionic chiton joined the traditional Doric peplos as a primary women’s garment in ancient Athens (Abrahams 57-60), worn as an outer layer or under an himation. In imperial Rome, women often wore a similarly-constructed tunica as a dress or underdress; it was almost always worn with the himation-like palla (a type of draped overcloak), and matrons had the option of wearing it under the stola, a sleeveless overdress pinned or sewn into straps at the shoulder.

Redfigure vase from the fifth century B.C. showing a woman in an Ionic chiton and himation. Her chiton is pleated to show volume of fabric. You can see how the shoulder "seam" of her chiton is made from what appear to be stitches at fixed intervals down her arm. Thumbnail links to original image at The Perseus Project.

From the Greek Archaic period through Roman times, the chiton (along with its tunic cousins, the mens’ Doric chiton and womens’ peplos) was constructed, decorated, and worn in a variety of ways, a reality which sometimes creates confusion as to the defining features of the garment. At the beginning of the Archaic era, the chiton (probably a version of the Ionic style) was described by the epic poet Homer as a sewn, rectangular linen tunic for men. According to the historian Herodotus, by the sixth century B.C. Athenian women were wearing sewn linen chitons, too (Abrahams 41). As Athens progressed into the Classical era, women’s chitons were being made of silk in addition to the traditional linen (for Ionic chitons) and wool (for Peploi, or Doric women’s dress) of the previous eras.

Depending on style, period, terminology of choice, and the gender of the wearer, chitons could have long sleeves or none at all, a consideration determined by the overall width of the garment and the fastening method used on the shoulders. The shoulders could be pinned, stitched, buttoned, or tied once per shoulder, fastened in several places at intervals down the shoulders and arms, or sewn along the top edge to create more conventional, tunic-style shoulders and sleeves. To make the sleeves more pronounced, and ostensibly to promote ease of movement, some chitons appeared to be tied under the arms and around the shoulders (See the Charioteer at Delphi). Sometimes, chitons were created with additional sleeve sections that were woven or sewn onto the armholes of the chiton.

Fifth century B.C. bronze of a charioteer wearing an Ionic chiton. His sleeves appear to be tied around the arms and shoulders, helping to create the tremendous pleating that is a signature trait of the style. © RaminusFalcon / Wikimedia Commons

The basic design of the latest chiton I made is fairly representative of the garment type. It’s what classicists often refer to as an Ionic chiton:

• It’s long and wide with sleeves (not all Ionic chitons had pronounced sleeves, but all had seaming of some sort at the shoulders), as differentiated from the Doric chitons and peploi worn by most mainland Greeks of the Archaic age, which were less broad, didn’t have sleeves or proper seaming at the shoulder, and could be short, in the case of the men (Abrahams 60).
• It’s composed of two large rectangles of linen fabric. Doric chitons – worn by men -  and their feminine counterparts,women’s peploi, were traditonally made of wool (Abrahams 59-60). Further, Doric chitons and peploi are associated with single-fabric-rectangle construction, rather than two pieces of fabric sewn together.
• The rectangles of fabric are stitched and buttoned at intervals along the top edge to create seamed shoulders and sleeves, leaving room for a neck opening. Ionic chiton shoulders and sleeves could be fastened by sewn seams, stitches at intervals, buttons at intervals, or pins at intervals.
• The chiton is sewn down the long sides of the fabric as well, creating a basic tunic shape that is pulled in at the waist by a belt.

Peplos Kore, ca. 530 B.C. Photo by John Pappas. The image shows the trimness of the Archaic peplos. You can see the apoptygma terminating just above her waistline.

Chitons are in many ways similar to the aforementioned peplos, an older style of Doric dress worn exclusively by mainland Greek women before they started wearing Ionic chitons (and by the sixth century B.C., the peplos was apparently worn by Athenian women over chitons of varying styles, as the peplos transitioned into the role of cloak, or himation). Unlike the Ionic chiton, which was sewn up both sides, the traditional peplos was constructed from a single, unsewn piece of woolen fabric that was folded in half to create the basic tubular tunic shape. Circa 800 B.C., the beginning of the Greek Archaic age, the epic poet Homer used the term peplos for women’s dresses as well as other large, rectangular pieces of cloth, which bears out the characteristic (Abrahams 17).

When worn, the peplos was folded over at the neckline to make an apoptygma, or as fashion historian Harold Koda calls it, a “capelet-like overfold.” The dress would be fastened at the front of the shoulders with two fibulae, or brooches, to which Koda refers as the “single defining detail” of the peplos, and to an extent, the Doric stye of dress for both sexes (though men’s clothing in the Doric style – AKA the Doric chiton – could be fastened on one shoulder only, and did not have the apoptygma).

That said, the apoptygma overfolds are an example of a peplos characteristic that is sometimes shared with the Ionic chiton as worn by women (Abrahams 64). Conversely, and as Athenian art moved into the fifth century B.C., the volume (and in some cases, the diaphanous quality) usually associated with the Ionic style appear to have been blended into Doric-style clothing of figures such as the karyatids of the Erechtheum:

Karyatid from the Erectheum on the Athenian Acropolis, fifth century B.C. She's wearing a peplos that is much fuller and more diaphanous-looking than the trimmer Archaic peploi on this page. Image © Marie-Lan Nguyen / Wikimedia Commons

Most chitons and peploi would be girded in some way at the waistline, sometimes double-belted to create the look of a shorter overdress, furthering the similarity between the two. Sometimes peploi wouldn’t be girded at all, particularly if worn over another tunic of some sort. Open-sided peploi not worn over another tunic of some sort would practically require a belt, given the fact that it wouldn’t stay closed at the side without one. Some scholars indicate the early use of brooches to keep the open side of the peplos closed.

The fates, or moirae, from the Francois Vase (ca. the mid-sixth c. B.C.). They're wearing peploi, with noticeable apoptygma overlapping the bodice. Their shoulders are pinned at the front; on the far left-hand fate, you can see the overlap of the back edge of the peplos and the straight pin attaching it to the front edge.

To make matters more confusing, by the sixth century B.C. the term peplos could apply to virtually any Doric-style women’s dress, whether it was sewn up the side or not (Abrahams 46). This contradicts the frequent assumption that chitons were the sewn garment, while peploi were specifically not:

“…the word ‘peplos’ is usually reserved for the Doric [feminine] dress whether open or closed [at the side], the word ‘chiton’ for the Ionic, though the latter is frequently applied to the Doric, and is invariably used of the under-dress when the two styles became confused” (46).

Ethel Abrahams seems to suggest that “chiton” is most properly used to describe

1. an Ionic chiton (long, full, fluidly pleated, sewn down the sides, usually with sleeves),
2. Doric-style tunics worn by men, or
3. a tunic dress (whatever its style) worn under a peplos (maybe).

Athena pictured on a metope from the fifth century B.C. Temple of Zeus at Olympia. She's wearing the fuller-style peplos of the classical era. Her apoptygma drapes over her belt to cover the waistline (though it was sometimes worn girded under the belt).

I chose an off-white linen as my chiton fabric (yes, Joann has 100% linen, suitable for ancient, medieval, and renaissance pieces), purchasing enough to create two head-to-foot lengths of wide fabric. Even then, it isn’t quite as long as I would like; Ionic chitons were supposed to nearly touch the floor on a female wearer. The fabric wasn’t as thin as I would have liked for a diaphanous Ionic chiton, either, but it does drape nicely. Chitons could have been embroidered or colored, but I was working with limited color resources and went for the white. While ancient Greek sculpture would have been vibrantly painted, I like the idea of a chiton that resembles the light, Pentelic tones of the Parthenon sculpture from the mid-fifth century B.C.

I created a neckline and sleeves by tacking the top edges of the fabric together at intervals and finishing each stitch off with a burnished brass-tone button. I left enough room at the end of the sleeves for my hands and forearms to emerge, sewing together the side-seams and hemming the bottom of the chiton. I created a zone or “girdle” belt out of a piece of decorative cord and some ready-made upholstery tassels. For underpinnings, I made a concession to practicality and wore my Regency chemise; it provided enough support in the boob area to keep things reasonably modest (and hey, Roman women wore mamillare to keep the chesticles in check). For shoes, I chose a modern version of a medieval “bog shoe.” They’re a boot-like, closed-toe, lace-up sandal that resembles Roman calcei.

"Vestale in Pieda."

For props, I made a grapevine wreath inspired by Romney’s Bacchante (see images above) and borrowed an urn, a plinth/column, a libation bowl, and a tambourine from my mom. The Rehberg engravings show Emma using a very wide, long shawl – very much like a Greek himation or Roman palla – as a prop. I substituted my cream wool rectangle shawl from India, which had the right look but isn’t nearly large enough to be a real wrap from antiquity.

I performed my attitudes a second time this past October, at a ball as might have been hosted by the Queen of Naples, Maria Carolina. That’s where the photographs – kindly taken by my friend Yvette Keller – originate.

 Sources – Lady Emma Hamilton

• Drawings faithfully copied from nature at Naples by Friedrich Rehberg, engraved by Tommaso Piroli – 1794 – Contains engravings of several of Lady Emma’s “attitudes.” This was the source I used to create my series of tableaux.
• Emma at Home: Lady Hamilton and her “Attitudes” – John Wilton-Ely’s Lecture on Lady Emma’s “attitudes” as a manifestation of neoclassical artistic values. His discussion includes the various visual and historical allusions in Emma’s work.
• Sichel, Walter Sydney. Memoirs of Emma, Lady Hamilton: The friend of Lord Nelson and the Court of Naples. New York: P.F. Collier and Son,1910.
• Vic’s Lady Emma article

Chiton Sources

• The Chiton and Its Descendants
• Roman Clothing: Women – Professor Barbara F. McManus’ Roman clothing site
• The Chiton, Peplos, and Himation in Modern dress – Essay by fashion historian Harold Koda
• Abrahams, Ethel Beatrice. Greek Dress: A Study of the Costumes Worn in Ancient Greece From Pre-Hellenic Times to the Hellenistic Age. London: John Murray, 1908.
• Smith, William et al., eds. A Dictionary of Greek and Roman Antiquities, 1890. Peplos and Palla | Chiton and Tunica
• Whetstone Johnston, Harold. The Private Life of the Romans. Scott, Foresman and Company, 1903. 

"Vestale in Pieda."

I tend to tweet most of my minor updates these days, but here’s a roundup for the sake of completeness. 

Emma comes to the Old Globe in San Diego.

Paul Gordon’s Emma – A Musical Romantic Comedy is now running at San Diego’s Old Globe Theatre!  The show – which has already enjoyed successful runs in the Bay Area, Cincinnati, and St. Louis – previewed earlier this month and officially premiers this weekend.  The run will continue through February 27 (with an extension to March 6).

Emma is directed by Jeff Calhoun and stars Patti Murin as the eponymous heroine and Adam Monley as Mr. Knightley.  For more…

• Patti Murin Is Emma, Singing an Austen Song, at Old Globe Jan. 15-Feb. 27 (Playbill.com)
• Official Old Globe Emma site – Includes articles, a program in .pdf format, cast biographies, related events, and notes on the production!
• KPBS “These Days” Interview with Emma director Jeff Calhoun and show writer Paul Gordon
• Globe plans fresh take on Jane Austen’s Emma – Pam Kragen, North County Times
• Perils of romance come to the stage in new musical Emma at The Old Globe in Balboa Park – Diana Saenger, La Jolla Light
• Ageless Emma – James Hebert, San Diego Union-Tribune

In other Emma adaptation news, Romola Garai’s Golden Globe nomination for Best Performance by an Actress in a Mini-series or Motion Picture Made for Television did not result in a win.  Still, it was nice to see her nominated for her starring role in the 2009-2010 BBC Emma miniseries.

In non-adaptation Emma news, Maria Edgeworth’s presentation copy of Emma was sold last month at auction.  According to Sotheby’s auction house, it fetched 79,250 pounds sterling.  Edgeworth was a bit of a novelist idol of Austen’s and an acquaintance of the James Leigh Perrots, Jane Austen’s aunt and uncle.  You can learn about Edgeworth’s opinions on Emma in this roundup of period responses to the book.

Happy new year, everyone!

October was kind of a sewing nightmare. I really, really hate sewing. Like, I’d rather stab myself with a rake than have to deal with the cutting, the pinning, the seamripping, the rumpled fabric (right, I don’t even OWN an iron)…yeah, can’t stand it.

Well, since none of my beautiful Regency wardrobe fits (still), I had to pull together an 1814-ish evening gown out of my trusty-dusty purple silk sari (not a very period color, I know) for the Bay Area English Regency Society’s Congress of Vienna Ball. I had a role – Princess Bagration, the White Pussycat and Naked Angel – so I needed something that looked lush. At any rate, the job’s not TOO bad for a rush. I didn’t have time nor a proper pattern to make period stays, so the silhouette’s not the best. Oh well.

For Halloween, I made myself a Patrick Nagel “Rio” outfit, perfect for “dancing on the sand.” This image was apparently the alternate cover image considered for Duran Duran’s legendary sophomore album.

More images in my photo album.

During the month of August, Austenprose.com is hosting a tribute to legendary Regency romance novelist Georgette Heyer.  Join Laurel Ann and the gang for thirty-one days of Georgian-by-way-of-the-20th-century fun!

IndianExpress.com recently published an interview with Aisha director Rajshree Ojha, highlighting both the challenges she’s faced as a female director in Bollywood and the striking social parallels within Emma’s and Aisha’s worlds.

Hope everyone’s having a great weekend.  Happy Fourth of July!

Through May 16, the Jane Austen House Museum is displaying a selection of costumes designed by Rosalind Ebbutt for the recent BBC Emma adaptation starring Romola Garai and Jonny Lee Miller.  The museum itself is housed in Chawton Cottage, Austen’s home from 1808 until her death.

While many of the fashions worn in the miniseries were actually created for other productions, Ebbutt was responsible for a majority of the pieces worn by the production’s principal actors. The current exhibit includes pieces designed for Romola Garai as Emma, Jonny Lee Miller as Mr. Knightley, Sir Michael Gambon as Mr. Woodhouse, and Laura Pyper as Jane Fairfax.

The Jane Austen House Museum’s website lists a May 7 event featuring Rosalind Ebbutt herself – wish I could go!

More information about the exhibit:

• Emma costume photos by Rebecca Smith, Jane Austen House Museum Writer in Residence
• More Emma costume photos by Rebecca Smith, Jane Austen House Museum Writer in Residence
• Jane Austen House Museum website
• AustenOnly’s report on the exhibit

More information about Emma adaptation costumes:

• 2009-2010 BBC Emma costume trivia (IMDB.com)
• Emma DVD review (the DVD special features include interviews with Rosalind Ebbutt and various cast members regarding costuming in the miniseries)
• Rosalind Ebbutt at IMDB.com
• Recycled Movie Costumes
• Heather’s Jane Austen Movie Gowns site
• Costuming Emmas 1-3

Other links of possible interest:

• 209-2010 BBC Emma section at the Emma Adaptations Pages
• Learn more about Chawton Cottage and other places relevant to Jane Austen’s life at SeekingJaneAusten.com.

So, my Emma 2009/2010 DVD arrived today via Amazon, and I’ve perused the special features.  As far as I know, this BBC DVD version from Amazon is the same as the DVD that ShopPBS.org will ship next month.

Disc 1 includes featurettes on the Emma filming locations and costumes, bringing you short interviews with crew and cast about the visual side of the production.

Design board for the Squerryes Court dining room.

The “Locations” piece primarily covers Squerryes Court as Hartfield and Loseley Park as Donwell Abbey, describing the crew’s intent to use space as a metaphor for the various characters’ existences and as an indicator of each character’s social station.  Emma, for example, inhabits an elegant home with an easy, unobstructed floorplan which represents her personality and life experience:

“Emma Woodhouse, handsome, clever, and rich, with a comfortable home and happy disposition, seemed to unite some of the best blessings of existence; and had lived nearly twenty-one years in the world with very little to distress or vex her.”

Donwell Abbey, by contrast, is more venerable in size, style, and age, which very much suits the character and social status of Mr. Knightley:

“The house was larger than Hartfield, and totally unlike it, covering a good deal of ground, rambling and irregular, with many comfortable, and one or two handsome rooms. It was just what it ought to be, and it looked what it was; and Emma felt an increasing respect for it, as the residence of a family of such true gentility, untainted in blood and understanding.”

The featurette also briefly covers decor choices and the tricks involved in shooting winter scenes in June(!).  While the snowscape longshots at Squerryes Court were indeed filmed during winter, the Knightleys’ rear garden snowball fight was shot on a 27-degree C day!  This recalls the snow scenes from the 1995/96 Pride and Prejudice adaptation, which were filmed in July of 1994, if I’m remembering correctly.

Snow in June at Squerryes Court!

The costume featurette was of particular interest to me.  There were several conversations with costume designer Rosalind Ebbutt, who shares various elements of the design process.  Ebbutt brainstormed ideas via collages of period images, fabric swatches, and color samples for each character.  Frank Churchill’s even included a photo or two of Mick Jagger, whom Ebbutt felt captured the dashing worldliness of the character.  In addition to remarks from the designer, we also hear from the actors.  Romola Garai, Louise Dylan, Blake Ritson, Tamsin Greig, Rupert Evans, Laura Pyper, and Jonny Lee Miller all comment on the collaborative design process, how fashion reveals character status, personality and transformation, and the nuts and bolts of wearing period fashion.

Harriet and Emma: Twins!

Tamsin Greig, for example, describes Regency underpinnings (chemises, custom corsets made specifically for each actress, and in some cases, a “bustle” pad).  Romola Garai shows her little chatelaine watch as an example of a costume accessory that denotes Emma’s status as “lady of the house.”  Louise Dylan describes how Harriet Smith’s wardrobe begins to mimic Emma’s as the older girl’s influence grows.  And Jonny Lee Miller discusses Mr. Knightley’s practical yet elegant wardrobe as an outward manifestation of the character’s personality.  “I can see myself gambling in this,” he jokes, indicating his beautiful brocade waistcoat and velvet tailcoat.

Disc 2 contains the music featurette and an interview with Sir Michael Gambon (Mr. Woodhouse), filmed on location at Squerryes Court.

The Music piece includes interviews with composer Samuel Sim, Director Jim O’Hanlon, and Producer George Ormond, and generally overviews the process of scoring a television series.  Director O’Hanlon describes Sim’s Emma soundtrack as having “one foot in the period and one foot in today,” allowing the film to sound historically-appropriate while maintaining a freshness accessible to modern ears. Sim and O’Hanlon also discuss how Emma’s main theme, or motive, is reiterated over the course of the miniseries to accentuate onscreen moods and actions.

Samuel Sim and Jim O'Hanlon "spot" musical cues.

In addition, we learn a little about the planning or “sketching” period, during which the composer creates the main theme and ideas for the various musical cues that will be required in the finished miniseries.  We also get to glimpse a “spotting” session with the composer, director, and producer, which involves watching the film, matching up extant music cues with the footage, and coming up with plans for additional cues not yet written.  The featurette concludes with a recording session at the legendary Abbey Road Studio of Beatles fame.  This is totally off-topic, but it’s worth noting that the score for the upcoming “World of Color” show at Disney’s California Adventure was recorded just a few weeks ago at Abbey Road.

I haven’t yet watched the DVD version of the miniseries itself, but I understand that it DOES include various short scenes that aired on the BBC but not on PBS.

In all, I think the bonus features were worth the DVD purchase price (I paid around $23, via Amazon).  The packaging is a beautiful, book-style box – gatefold, I guess you could say? – with photos of Garai on the cover and on the discs themselves.  There’s a panorama of the Box Hill picnic on the inside.

Related information:

• Buy the DVD
• DVD reviews
• More about the various Emma filming locations
• More about Samuel Sim and the Emma soundtrack (including purchase information)
• Costume trivia from IMDB

Though described by Jane Austen as “a heroine whom no one but myself will much like” (James Edward Austen-Leigh’s Memoir of Jane Austen, p. 158), Emma has delighted millions of readers throughout the years. Emma the novel also has its share of fans, though like its eponymous heroine, it has its detractors, too.

Novelist Sir Walter Scott, at Emma publisher John Murray’s suggestion, provided a major, early, and positive critical opinion of the novel in his October, 1815 Quarterly Review piece. In correspondence, Murray asked Scott if he felt Emma lacked “incident and romance,” to which Scott responded in his piece with qualified agreement. Certainly, Emma is not an eighteenth century “romance,” as it lacks the kind of story and excitement that is dependent on fantastic heroics and uncommon occurences. However, according to Scott, Jane Austen manages the difficult task of creating natural, recognizable personalities and circumstances that are at once familiar to an average audience and yet so well-crafted as to maintain the reader’s excitement and interest:

“We…bestow no mean compliment upon the author of Emma, when we say that, keeping close to common incidents, and to such characters as occupy the ordinary walks of life, she has produced sketches of such spirit and originality, that we never miss the excitation which depends upon a narrative of uncommon events, arising from the consideration of minds, manners and sentiments, greatly above our own. In this class she stands almost alone…”

Maria Edgeworth – a favorite novelist of Austen’s and one with whom Scott compared her favorably – was perhaps less impressed by Emma, essentially declaring it plotless:

“There is no story in it, except that Miss Emma found that the man whom she designed for Harriet’s lover was an admirer of her own—& he was affronted at being refused by Emma & Harriet wore the willow—and smooth, thin water-gruel is according to Emma’s father’s opinion a very good thing & it is very difficult to make a cook understand what you mean by smooth, thin water-gruel.”

I don’t know how Jane Austen took Edgeworth’s comments, but she seemed satisfied with Scott’s (anonymous) review.  She wrote of it to John Murray in April, 1816:

“I return to you the Quarterly Reveiw with many Thanks. The Authoress of Emma has no reason I think to complain of her treatment in it – except in the total omission of Mansfield Par. – I cannot but be sorry that so clever a Man as the Reviewer of Emma, should consider it as unworthy of being noticed.”

Further, Austen frequently clarified that she was happy to continue creating “pictures of domestic Life in Country Villages,” leaving the high adventure to others.  Responding to suggestions from the Prince Regent’s personal librarian, James Stanier Clarke, she stated, “I could no more write a Romance than an Epic Poem. – I could not sit seriously down to write a serious Romance under any other motive than to save my Life…”

Austen’s own family, friends, and acquaintances were at times less than enthusiastic in their descriptions of Emma, but their reviews were generally – and in some cases very – favorable.  Even some of the least favorable reviews reflect the basis of Scott’s praise above; one reader claimed Emma was “too natural to be interesting.”  So, in essence, Austen was too good at fashioning her slices of life. 

Below is Jane Austen’s own aggregation of various opinions of Emma and its characters.  Personally, I can’t see how anyone could prefer Mansfield Park to Emma, but here it is…

• Captⁿ. Austen. [1] – liked it extremely, observing that though there might be more Wit in P & P – & an higher Morality in MP – yet altogether, on account of it’s peculiar air of Nature throughout, he preferred it to either.
• M^rs F. A. [2] – liked & admired it very much indeed, but must still prefer P & P.
• M^rs J. Bridges – preferred it to all the others.
• Miss Sharp [3]- better than M P. – but not so well as P. & P. – pleased with the Heroine for her Originality, delighted
  with M^rK – & called M^rsElton beyond praise. – dissatisfied with Jane Fairfax.
• Cassandra – better than P. & P. – but not so well as M. P. -
• Fanny K. [4] – not so well as either P. & P. or M P. – could not bear Emma herself. – M^r Knightley delightful. – Should like J. F. – if she knew more of her. -
• M^r & M^rs J. A. [5] – did not like it so well as either of the 3 others. Language different from the others; not so easily read. -
• Edward [6] – preferred it to M P. - only. – M^r K. liked by every body.
• Miss Bigg – not equal to either P & P. or M P. – objected to the sameness of the subject (Match-making) all through.
  - Too much of M^r Elton & H. Smith. Language superior to the others. -
• My Mother – thought it more entertaining than M. P. – but not so interesting as P. & P. – No characters in it equal
  to L^y Catherine & M^r Collins. -
• Miss Lloyd [7] – thought it as clever as either of the others, but did not receive so much pleasure from it as from P. & P – & M P. -
• M^rs & Miss Craven – liked it very much, but not so much as the others. -
• Fanny Cage – liked it very much indeed & classed it between P & P. – & M P. -
• M^r Sherer – did not think it equal to either M P – (which he liked the best of all) or P & P. – displeased with my pictures of Clergymen. -
• Miss Bigg – on reading it a second time, liked Miss Bates much better than at first, & expressed herself as liking
  all the people of Highbury in general, except Harriet Smith – but c^d not help still thinking her too silly in her Loves.
• The family at Upton Gray – all very much amused with it. – Miss Bates a great favourite with M^rs Beaufoy.
• M^r & M^rs Leigh Perrot – saw many beauties in it, but c^d not think it equal to P. & P. – Darcy & Eliz^th had spoilt them for anything else. – M^r K. however, an excellent Character; Emma better luck than a Matchmaker often has. – Pitied Jane Fairfax – thought Frank Churchill better treated than he deserved. -
• Countess Craven – admired it very much, but did not think it equal to P & P. – which she ranked as the very first
  of it’s [sic] sort. -
• M^rs Guiton – thought it too natural to be interesting.
• M^rs Digweed – did not like it so well as the others, in fact if she had not known the Author, could hardly have got through it. -
• Miss Terry – admired it very much, particularly M^rs Elton.
• Henry Sanford – very much pleased with it – delighted with Miss Bates, but thought M^rs Elton the best-drawn Character in the Book. – Mansfield Park however, still his favourite.
• M^r Haden - quite delighted with it. Admired the Character of Emma. -
• Miss Isabella Herries – did not like it – objected to my exposing the sex in the character of the Heroine – convinced
  that I had meant M^rs & Miss Bates for some acquaintance of theirs – People whom I never heard of before. -
• Miss Harriet Moore – admired it very much, but M. P. still her favourite of all. -
• Countess Morley [8] – delighted with it. -
• M^r Cockerelle – liked it so little, that Fanny w^d not send me his opinion. -
• M^rs Dickson – did not much like it – thought it very inferior to P. & P. – Liked it the less, from there being a Mr. and M^rs Dixon in it. -
• M^rs Brandreth – thought the 3^d vol: superior to anythin [sic] I had ever written – quite beautiful! -
• M^r B. Lefroy – thought that if there had been more Incident, it would be equal to any of the others. – The Characters quite as well drawn & supported as in any, & from being more everyday ones, the more entertaining. – Did not like the Heroine so well as any of the others. Miss Bates excellent, but rather too much of her. M^r & M^rs Elton
  admirable & John Knightley a sensible Man. -
• M^rs B. Lefroy – rank’d Emma as a composition with S & S. – not so Brilliant as P. & P – nor so equal as M P. – Preferred Emma herself to all the heroines. – The Characters like all the others admirably well drawn & supported – perhaps rather less strongly marked than some, but only the more natural for that reason. – M^rKnightley M^rsElton & Miss Bates her favourites. – Thought one or two of the conversations too long. -
• M^rs Lefroy – preferred it to M P – but like M P. the least of all.
• M^r Fowle – read only the first & last Chapters, because he had heard it was not interesting. -
• M^rs Lutley Sclater – liked it very much, better than M P – & thought I had “brought it all about very cleverly in the last volume.” -
• M^rs C. Cage wrote thus to Fanny – “A great many thanks for the loan of Emma, which I am
  delighted with. I like it better than any. Every character is thouroughly kept up. I must enjoy reading again with Charles. Miss Bates is incomprable, but I was nearly killed with those precious treasures! They are Unique, & really with more fun than I can express. I am at Highbury all day, & I can’t help feeling I have just got into a new set of acquaintance. No one writes such good sense. & so very comfortable.”
• M^rs Wroughton – did not like it so well as P. & P. – Thought the Authoress wrong, in such times as these, to draw such Clergymen as M^r Collins and M^r Elton.
• Sir J. Langham – thought it much inferior to the others. -
• M^r Jeffery (of the Edinburgh Review) was kept up by it three nights.
• Miss Murden – certainly inferior to all the others. -
• Capt. C. Austen [9] wrote – “Emma arrived in time to a moment. I am delighted with her, more so I think than even with my favourite Pride and Prejudice, & have read it three times in the Passage.”
• M^rs D. Dundas – thought it very clever, but did not like it so well as the others.

_______________________

1. Francis William; his brother Charles is below.
2. Francis’ wife
3. Knight
4. Anne Sharp was a close friend of Jane Austen’s and a possible inspiration for the “governess” characters in Emma, Anne Taylor and Jane Fairfax; she was a recipient of one of twelve presentation copies of the novel
5. James Austen
6. James Edward
7. Martha
8. Recipient of a presentation copy of the novel
9. Charles John

_______________________

Related reading:

• Joan Ray’s Scott’s “tenderest, noblest and best” in his Review of Emma
• Laurel Ann’s fabulous Deconstructing Miss Emma Woodhouse
• Laurel Ann on Maria Edgeworth and Austen
• Laurel Ann on Austen’s friendship with Anne Sharp
• Letters regarding the publication of Emma
• Adapted from my Opinions of Emma, From the Period page

Since the first Emma Twitter party was such a success, PBS.org is presenting another for Part Two!  There will be an “east coast” party beginning this Sunday, January 31, at 9pm ET and a “west coast” party to follow at 9pm PT at Twitter hashtag #emma_pbs.

You can use the official PBS Emma TwitGrid (it’s a new one!) to help you navigate all posts to the #emma_pbs hashtag.  Check the PBS.org Emma Twitter page for details and updates.   In the works:  another quiz with Laurel Ann and me, more prizes, and special discounts for party participants at ShopPBS!

In other news, Vic explains how to make Mrs. Weston’s wedding cake (as seen in the most recent Emma adaptation).  The key tool?  A Nordic Ware Cathedral Bundt Pan!  Also, don’t miss her thoughts on Emma 2009/2010 as reviewed by print media.

Catch author and #emma_pbs Twitter Party co-host Laurie Viera Rigler’s Emma review, posted at the PBS Remotely Connected blog.

And, in Persuasions Online, Laurie Kaplan discusses negative critical responses to the latest Emma in Adapting Emma for the Twenty-first Century: An Emma No One Will Like.

Also, Style Court discusses decor in the various Emma adaptations and Austen Only covers Mr. Knightley’s Strawberries.