Out on the Ton: Exploring series three of Bridgerton and its costumes

Two years after series two of Bridgerton, not forgetting Queen Charlotte: A Bridgerton Story, which came out in between, Netflix blessed us again with a new, two-part instalment of series three. No one could wait until Penelope and Colin took centre stage, the romcom ensued, and audiences were impatient for the next instalment after part one dropped. With an increased budget, a Regency makeover and a Whistledown reveal to the ton, the show’s costumes had an upgrade too, so let’s have a look at the peaks and pitfalls of the period fantasy’s costume design this social season.

A Swansong from the Wig Stylist
First and foremost, from the behind-the-scenes previews and trailers leading up to the part one premiere, it was easy to see the budget increase. What really blew the fandom away, myself included, was the evolution and upgrade of the wig design. Queen Charlotte’s wig has a motorised swan carousel; a quasi-swan-lake-inspired theme with its cool coloured blonde and glistening snow-like jewels. The impressive hair-work doesn’t stop there as hair and wig stylist, Erika Okvist, delivers showstopper after showstopper modelled by Golda Rosheuval (who plays the Queen herself). In an interview with Shondaland, Okvist stated “I wanted to have a little carousel with glass swans swimming around. Clockwork, obviously, has been around since the 1200s. So, it’s perfectly appropriate. Instead of a windup mechanism, I fashioned together a little motor. And Golda has a little switch under her arm”. Okvist 3D printed her own design and created a Fabergé-inspired look, which was not only incredibly executed but also historically and mechanically correct. Okvist also delivered looks which championed diversity, not only onscreen through casting, as Shondaland (production company) are renowned for, but equally translated through the hairstyling, as Queen Charlotte models textured, afro hairstyles which are sculpted to create beautiful silhouettes. Some wigs even get reused and restyled, this is true for a lot of the wigs, including that of Nicola Coughlan’s which I’ll be discussing later, which not only increases the sustainability of the show but also unites the actor and character through the statement and artistry brought across through the wig design.

From Featherington to Bridgerton
From wallflower to a blossoming rose in the sun, series three places Penelope Featherington at the heart of the love story as it strays from the chronology of the book series and veers to book four: Romancing Mister Bridgerton. Part one is where we see Penelope’s long-awaited makeover and leading lady glow up. Penelope’s colour palette shifts from dark to light across the complete series. This is because she has, upon deciding to change up her style, overcorrected. In a panic to change her style, she has strayed so far that whilst she may be turning heads, she is also turning away from discovering her true colouring. Whilst she challenges colours that Lady Featherington would protest are not the usual citrus family colours, Penelope still remains tied to the gaudiness that she has always been dressed in. We can see this through the pattern sewn into the dress, whilst elegant and complimentary, it is too much in one look: the embroidery, dark teal and black glove do not cohesively compliment Penelope’s signature red hair. Costume designer John Glasner notes how the team intentionally made sure that the glow-up look seemed a little flawed, we can see that once she takes ownership of her light summer colour palette. The soft pastels accentuate and highlight her, making her look composed whilst still complimenting her red hair colour. The soft colours are calmer, making Penelope appear more like a romantic lead, whilst the darker, gaudier colours make her seem confused and unsure of herself. The costume department enhanced the natural curves in her figure and waist, sculpting a fuller skirt silhouette rather than draping fabric meaninglessly. This way, now, Penelope is seen to have come into her own and, as in all the costuming, the colour tells a story, and the semiotics denote meaning.

Viscountess Kate Bridgerton
I know season three was all about Penelope and Colin, but I could not take my eyes off of the besotted Viscount and Viscountess Bridgerton, especially Kate Bridgerton, who glowed in her stylishness across the season. Her costume designs this season were, in my opinion, sheer perfection, as it features South Asian representation which is championed through her fashion. As a young South Asian woman myself, I adored seeing this onscreen. The look, that, if I’m being honest, inspired me to write this article, is Kate’s royal blue sari fusion look. Combining the signature Bridgerton blue with the Sharma’s deep, rich and regal colour palette, blends the Indo-regency fusion look that had fans obsessing. Kate’s Indian heritage is honoured throughout the series, as in series two, but almost to an elevated radiance this series, as the costume department detailed prints and brocades into Kate’s dresses, as well as shawls or sashes. Kate’s gold jewellery, bangles and celebrated curly hair compliments her colour palette, and skin tone and marry her culture with her new family beautifully.