1995 – Lee, Sense and Sensibility

he film is set in southwest rural England in the early 1800s. Fashion during the first two decades of the 19th century mimicked classical Grecian drapery with fluid lines and a high-waisted empire silhouette that emphasizes the ideal Classical body (Fig. 1) (Cunnington 55). Tightly-laced stays (corsets) were temporarily abandoned in favor of a high-waisted figure that seemed more natural. Corsets were still required (Fig. 2), but were much softer and more pliable than those of the previous century (Percoco 4). Dresses remained narrow, with slight fullness at the back just below the raised waistline (Fig. 3). Bodices were minimal, cut to end under the bust and thereby achieving the high waist that defined the silhouette. Sleeves would typically be long for daytime apparel and short for evening. The back of the bodice featured side, back and shoulder seams that were placed to form a diamond shape. Dresses generally opened in the front with pins or drawstrings as the closures. Necklines were predominantly low, and for modesty or warmth, a tucker, kerchief, or simple chemisette filled in the decollétage for daywear (Fig. 4).

From 1800 to 1810, white was the most popular color (Fig. 5), and any applied trimming was used sparingly (Le Bourhis, 101, 217). Fabrics tended to be lightweight, with delicate embroidery and details that did not interrupt the line of the dress. Outerwear consisted of long shawls, pelisses, and spencers—waist-length jackets named after Lord Spencer (Figs. 6, 7). Pelisses were popular from 1800 to 1810 as coat-like garments in the high-waisted Empire silhouette to cover light dresses (Le Bourhis 249) (Fig. 8). The colors for fashionable pelisses included golden brown, dark green, and blue. The pelisse was normally worn over a light-colored gown, which would be visible underneath through the center front opening.

From 1810 to 1820 dresses became slightly more structured through padded hems and stiffer fabrics such as twills and taffeta (Cunnington 57). Soft colors returned to fashion after a decade-long absence from fashionable dress. Sleeves began to grow fuller near the shoulder, and the high waistline endured. The waistline would eventually start to lower, and skirts widened ever so slightly (Laver 157).

Elinor is a very sensible woman in direct contrast to her impulsive sister Marianne (Kate Winslet). Elinor advises Marianne to be more careful when it comes to matters of the heart and to not fall too quickly in love. (Elinor also falls in love—with Edward Ferrars, but does not hold him when she hears of his engagement to another woman, despite her affections. This makes others think she is indifferent and cold-hearted, but her behavior comes from her thoughtfulness and consideration for others.)

The Empire style seems modest compared to other silhouettes from the late 18th and 19th centuries, which is actually quite fitting for Elinor. She does not dress to show off, and she constantly puts others before herself. The square necklines of her dresses are always more conservative than Marianne’s, making her seem a more conservative in turn. Another of Eleanor’s costumes that is worn multiple times is a white chemise gown made of cotton (Fig. 11) which has the effect of making her look humble and modest.

One of Elinor’s more detailed evening dresses is made of light blue silk and features gold trimming along the low neckline and around the sleeve cuffs (Fig. 12). She wears this dress for special occasions, such as going to a party or having a dinner with guests. She accessorizes it with white elbow-length gloves and a long gold chain necklace (Fig. 13). The necklace seems to be her only jewelry, and it suits her personality, as it is relatively subtle. Because her most formal clothes are not especially fancy, she is always distinguishable from the wealthy attendees who dress more ostentatiously for special occasions. The best example of this is the scene in which she attends a party and sees the woman whom Willoughby is engaged to. The woman gives a judgmental look at Dashwood sisters, and there is a clear contrast via dress between their social situations.

When the Dashwood family moves to more rural area, the color palette of Elinor’s costumes becomes lighter and more natural. Her ensembles include a white dress with a delicate lilac pattern, a white and grey plaid dress with ruffles at the neckline, and a striped open-front overdress (Fig. 14). These appear to be made of cotton or linen.  The natural fabrics are matched to the rural surroundings. Elinor still wears the navy day dress most often, however, which distinguishes her from other ladies in the region who tend to wear dresses with floral prints or decorated with lace.

Of special interest is the plaid dress, which Elinor is often wearing in scenes with Edward Ferrars, her love interest (Fig. 15).  One occasion in which she is not wearing it is the scene where Edward comes to visit her house after she has learned that he had secretly been engaged to Lucy for five years. In the scene, Elinor wears the white chemise dress and Edward is in dark navy suit, while Lucy wears a white chemise dress with a burgundy Spencer (Fig. 16). With both Lucy and Elinor in white dresses, they appear to be rivals—but as Lucy and Edward are both in dark colored outerwear, they are visually connected. Interestingly, when Edward returns to Elinor after Lucy breaks his heart by marrying his brother, Elinor is back in her plaid dress,  just as she was when they fell in love for the first time.

Elinor has a few other looks, including a plain lilac-colored dress and a riding costume (Fig. 17), but generally she has a rather limited wardrobe compared to other characters like Fanny Dashwood. As a result, she appears in the same clothes a few times—which was actually quite common for most people in that time period. Realistically, the costume designers create subtle differences each time that Elinor wears the same dress by switching out her accessories. Each ensemble is made unique with different combinations of shawls and bonnets (Fig. 18).