Bridgerton: Fashioning & Casting Fantasy

Historical accuracy in period dramas has long been seen as necessary in order to authentically recreate the different eras and represent what the audience knows of the past. As a result, this impacts how the costumes, customs, and social hierarchies are portrayed in these shows due to these expectations. However, Netflix's hit show Bridgerton goes against the grain in order to create a world where the Regency era is an intentionally stylized and romanticized version of the past rather than an absolute factual portrayal of the era. The aesthetic this worldbuilding has built upon is what is best understood online as “Regencycore”. It is often described as a modernized version of regency fashion and design from the 1800s that favors the lavish lifestyles of aristocrats from this period. Bridgerton’s use of this aesthetic, and its deviation from historical accuracy is no accident as it is an essential part of its success. By designing modernized costumes and casting a diverse range of actors to play in roles traditionally denied to them, Bridgerton has created a modern fantasy of the past where fashion, romance, and representation are not tied to historical truth, but a desire for inclusion and escape. 

The Featheringtons at the Picnic

From the very first scene of the Debutanate Ball in season 1 episode 1 (Diamond of the First Water), Bridgerton makes it apparent that historical accuracy is not its priority. The ball starts off with a classical rendition of Thank You Next by Ariana Grande, a signal to the fact that Bridgerton is inspired by but not tied down to following the rules of this era. We then are taken into the glitz and glamour of the aristocratic world where we are able to see the detailed, but modernized costuming of various characters. Rather than muted color palettes and fabrics, the attendees are dressed in vibrant and colorful fabrics that often have jewel detailings, fine embroidery, and iridescent fabrics that are more aligned with current day trends than eighteenth century ones. The silhouettes of many of the dresses in the show also often deviate from the period standard. We often see high empire waists that were typical of the time paired with bodices that almost resemble contemporary evening wear. Another area we can see liberties being taken in costuming is in season 1 episode 2 (Shock and Delight), where the Featherington family is sat together at a picnic, all the women wearing dresses in vibrant shades of pinks and purples that were less common at the time.

Cressida Cowper wearing her Puff 
sleeved dressed 

We also see Cressida Cowper wearing her ostentatious outfits such as the various giant puffed sleeved dresses she wears throughout season three. As Lisa Jones, digital editorial lead of the National museums Liverpool, puts it, “Although undeniably beguiling, it’s fair to say that Bridgerton’s dresses aren't always entirely historically accurate. There are nods to the true fashions of the time, but this is a fantasy world, where artistic licence is definitely used,”(Jones). These inaccuracies are ultimately part of the story that Bridgerton is trying to tell. 

Additionally, these inaccuracies extend beyond outfits. Extravagant hairstyles, heavier makeup, and modern beauty practices such as manicured nails begin to become more apparent, especially in later seasons. For example, in season 3 episode 4 (Old Friends) , we see the queen arrive at a Ball wearing one of her most elaborate wigs to date.

It is ornate and includes a gap where glass swans can be seen moving around slowly in a circle, illuminated by a built-in light. In season 3 we can even spot Penelope wearing acrylic nails which many fans have called out for being inaccurate. Similarly, Francesca Bridgerton’s glam makeup throughout season 3 was also taken note of by fans as it was a heavier style that would not have been worn at the time. These small changes ultimately alter how the viewers watch the show, and construct a fantasy of a past that never truly existed.

This “reinvention” of this era is also mirrored by the show’s diverse casting that allows for Bridgerton to create a society where power, beauty, and romance are not limited by one’s race or background. Shonda Rhime’s, the showrunner of the show, is no stranger to creating worlds that are almost fantasy-like, where social structures are reimagined to create space for characters that are marginalized. For instance, as the showrunner of Grey’s Anatomy, she created an environment where discrimination does not play as big of a role as it may in real life. As Elana Levine notes in her essay on Grey’s Anatomy in How to Watch TV, “Grey’s provides a feminist-friendly fiction or fantasy, allowing us to imagine a world in which identity-based discrimination has been defeated to women’s benefit, rather than at their expense,” (Levine 136). As a result, Grey’s Anatomy creates a present day workplace environment that is idealized, but also still tied to contemporary social realities.  Bridgerton is similar, but not the same, in that it allows us to imagine a world where discrimination does not play as active of a role as it has in the past. Grey’s suggests a better version of our current world, whereas Bridgerton rewrites the past entirely given that the world it occupies could not have existed historically due to the political and social conditions of the regency era.

Similarly, by placing actors of color in positions of power and as lead love interests, the show manages to use the past to create new fantasies. The perfect example of this are members of the cast, starting with the casting of Simon Basset (played by Rege-Jean Page).

Simon Basset & Lady Danbury 

In season 1 episode 1, the audience comes to know him as the Duke of Hastings, immediately placing him in a role of power and setting him up to be the romantic lead for Daphne Bridgerton. By presenting Simon as a black aristocrat in the 1800s, as well as the lead love interest, the show ignores historical accuracy and imagines an alternate version of the past where minorities are treated as equals. This historical inaccuracy operates as historical reinvention by not putting marginalized groups into the historical realities of this century, but instead constructing a new world where racial hierarchies do not exist.  By doing this, Bridgerton offers a more appealing version of the past, but it also avoids dealing with the history of slavery and colonialism that come with this period of time. Likewise, by casting Queen Charlotte (played by Golda Rohseuvel) as a black woman in the highest role of power who transformed the aristocracy into a diverse ton, the series constructed an alternate world where race is not so much a barrier as it is largely irrelevant to the question of status, privilege, and romance. 

Additionally, in season 2 episode 1 (Capital R Rake), we are introduced to Kate Sharma (played by Simone Ashley), a woman of South Asian descent who traveled to London with her sister Edwina Sharma (played by Charithra Chandran) to find her a husband.

Kate & Edwina Sharma getting ready
for the season

Kate and Edwina are greeted by Lady Danbury (played by Adojoa Ando) and are treated just like any other member of the ton looking to participate in the debutante season.The women are styled in beautifully crafted pastel and jewel toned gowns, and written to be highly educated, sophisticated, confident, and desired. To solidify this, the two sisters are positioned as eligible romantic prospects at the first ball they attend, with plenty of suitors admiring them. As stated before, race does not seem to play a major role in the development of romantic relationships in Bridgerton, but rather characters are treated like any other character in a typical modern day romance. This representation of South Asian women (and minorities alike) is significant as it centers them in roles that counteract long standing racial stereotypes.

Combined with the lavish costuming and inclusive cast, Bridgerton excels in the market of what is called “Regency-core.” The show isn’t just out to create a world of romance and drama, but to create a distinct aesthetic and brand identity that alters the past to be more marketable to today’s consumers. With the colorful gowns, classical music renditions of modern songs, and diverse community, the show allows for a sort of escapism. However, it should be noted that this depiction of an alternate past does not come without critique as many viewers have commented on the lack of historical background they feel should not be erased from the narrative. As historian Gretenchen Gerzina states in Steve Rose’s article in the Guardian, “My concern is that everyone now starts putting Black characters into their productions in ways that reflect our current interests, but that undermine the actual history,” and “so much so that people believe that this was the actual history. That’s the great danger. It gives people a pass to say, ‘Oh, it was all right. They didn’t suffer and they were wealthy,’” (qtd. in Rose). By prioritizing fantasy over reality, Bridgerton runs the risk of coming off as insensitive to the real social and historical problems faced by minorities. While this critique is a valid concern, it would ultimately seem like the show isn’t trying to rewrite history, but rather it proposes a world where today’s ideas about equality exist in the past. As a result, these inaccuracies are not exactly careless, but intentionally done to create a space where romance, belonging, and power are luxuries that are accessible to everyone, regardless of race.

In the end, Bridgerton demonstrates how historical inaccuracies can function as deliberate creative strategies for world-building and storytelling rather than coming off as a lack of research or knowledge. By embracing and diversifying the “Regencycore” aesthetic through costuming, makeup, and casting, the show has created an inclusive environment for many viewers. Similarly, by learning where they can push the limits of modernizing the past and finding ways to emotionally connect to a large audience, the series has become one of Netflix’s top performing shows. While critics understandably warn that such depictions can disregard the very real social and racial inequalities of the era, the show’s attempt to reimagine the past ultimately does not seem to be an attempt at rewriting it. Instead it uses the present to imagine a past that people today better relate to. As a result, Bridgerton gives viewers a form of entertainment that allows them to feel included in the narrative and escape from reality. 

References 

Levine, Elana. “Grey’s Anatomy: Feminism.” How to Watch Television, edited by Ethan Thompson and Jason Mittel, 2nd ed., New York University Press, 2020, pp.135-143.

Rose, Steve. “Why is Bridgerton’s race twisting acceptable? The real problem with the show’s Black Fantasy.” The Guardian, 12 June 2023, https://www.theguardian.com/tv-and-radio/2023/jun/12/bridgerton-queen-charlotte-race-black-fantasies-king-george

Jones, Lisa. “Iconic Bridgerton Fashion Moments.” Liverpool Museums, https://www.liverpoolmuseums.org.uk/stories/iconic-bridgerton-regencycore-fashion-moments