Designing for the Dashwood sisters
Costume designer Grace Snell approached Georgia Oakley’s film adaptation of Jane Austen’s 1811 novel Sense and Sensibility by thinking in chapters, focusing primarily on the country and the city. The country phase begins at Barton Cottage in the Devonshire landscape, where the relationship between sisters Elinor and Marianne Dashwood—played by Daisy Edgar-Jones and Esmé Creed-Miles—is at its most intimate. The London chapter later shifts their presentation to society with a different palette. Snell stated that the sets, weather, and changing seasons guided her work across these distinct phases.
The film is set between the Georgian and Regency eras, during what Snell described as an unusual transition period when fashion began to shift toward simpler styles. To capture the sibling dynamic, Snell drew inspiration from family photographs from the 2000s, focusing on the relaxed intimacy and comfort family members share through clothing. A specific detail in the film involves the sisters borrowing, sharing, and reworking each other’s garments to reflect how clothing is loved and shared within a family.
Balancing historical accuracy and modern styling
Alongside early-aughts family photos and runway looks from the 1980s and 1990s, Snell sought to create a more modern aesthetic to make the period piece feel accessible and break down the separation often associated with period dramas. Having studied historical dress at university, Snell hired a dress historian for three weeks of research to ensure the garment creation utilized historically accurate fabrics, techniques, and hand sewing.
Color choices were also deliberately managed. The film opens in a period of mourning characterized by shades of black, while Elinor and Edward wear shades of blue in London to reflect the disappointment of their situation. Brighter colors were reserved primarily for supporting characters in controlled ways.
A fresh take on a beloved story
As her first period film, Snell noted that the primary challenge involved managing the high volume of pieces and overcoming self-doubt. While acknowledging the 1995 film adaptation directed by Ang Lee as a beloved touchstone for fans, Snell clarified that it was not used as a reference point for her designs. Instead, the focus remained on returning directly to Austen’s text.
“We want to do Jane Austen justice,” Snell said, expressing hope that the new human-focused story and its portrayal of sisterly intimacy will reach a contemporary audience.