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Plain Jane: Representations of Women’s Dress

in Jane Eyre

the 1847 Novel and the 2011 Film

BA Fashion communication

Miranda Lennon

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Contents

Introduction p. 3

Chapter One: Women’s Historical Dress 1830-1850 p. 5

1830-1835 Overview p. 6

1835-1840 Overview p. 10

1840-1845 Overview p. 14

1845- 1850 Overview p. 20

Chapter Two: Women’s dress in the novel Jane Eyre p. 24

Jane’s Dress p. 25

The Upper Class p. 28

Chapter Three: Jane Eyre 2011 Film- Female Costumes p. 32

Grey Governess p. 32

1830s p. 33

1840s p. 36

Conclusion p. 43

Reference List p. 44

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Plain Jane: Representations of Women’s Dress in Jane Eyre the 1847 Novel

and the 2011 Film

Introduction

Charlotte Bronte’s 1847 gothic novel Jane Eyre tells the story of a young woman living in the

mid to late Victorian period. She spends her childhood in a cruel boarding school, after her

only remaining family members bully and reject her, demanding that she be sent away. Jane

endures many years of living at the terrible boarding school and finally, is able to leave when

she secures a post working as a Governess at Thornfield Hall. Whilst working there, she

eventually finds happiness when she falls in love with the master of the house; however there

are dark secrets that lead to unexpected revelations threatening Jane’s future happiness at

Thornfield Hall.

The latest Jane Eyre film adaptation, released in 2011, tells the original, captivating story

with a fresh, contemporary feel. Cinematographer Adriano Goldman explains ‘Well, we

wanted to make a period film with a contemporary look or approach, something that would

feel fresh’ Bosley (2009 p. 16). Visually, the film successfully captures the essence of the

story whilst incorporating subtle changes to bring it into the present. Costume design plays a

significant part in creating this powerful visual effect.

When we consider Charlotte Bronte’s 1847 novel Jane Eyre, was written over one hundred

and fifty years ago, how has the original intentions regarding dress in the novel, been

changed and adapted to appear on screen? How have contemporary costume designers used

dress to communicate the story in the present? And if changes have been made, how much

are the original intentions of the novelist Charlotte Bronte lost within a new contemporary

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adaptation? This dissertation will endeavour to address these questions by analysing and

comparing women’s dress detail in the 1847 novel and 2011-film version. It will give a

detailed overview of women’s historical fashion in the nineteenth century providing the

information essential to gain a clear understanding about the analysis of women’s dress in

Jane Eyre.

This dissertation will be highly original in its content by obtaining information from primary

research and conducting first hand, in depth analysis. This research and analysis will be used

to form an unprecedented study, comparing dress in the novel with dress appearing in the

recent 2011 film. The analysis results will offer a fascinating insight into women’s dress in

Jane Eyre revealing how the detailed descriptions in the novel differ from the costumes on

screen.

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Chapter One: Women’s Historical Dress 1830-1850

During the twenty-year period between 1830-50 drastic changes were made to women’s dress

‘The years from 1830 to 1855 are very interesting for the fashion historian.’ Bill (2003 p.

131). There are very few similarities when comparing 1830s styles to 1850s dress. Changes

in society influenced these dress alterations, most notably political revolution effecting class

division ‘From time to time feminine fashions appear to reflect, in varying degrees, the

political atmosphere of the day’ Cunnington (1959 p. 400) and Queen Victoria ascending to

the throne in 1837 ‘At the time of the accession of the young Queen Victoria, the enormously

wide sleeves worn by women began, so to speak, to slip down the arm’ Laver (1956 p. 67).

Mansbridge, A. (1956)

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Unknown author (1983)

1830-1835 Overview

Early 1830s women’s dress styles were exaggerated and elaborate, the main characteristic

being the wide silhouette ‘In the first half of the decade emphasis was on breadth’

Cunnington (1959 p. 400). The wide silhouette was made from a heavy, dome shaped skirt,

large puffed sleeves and enormous brimmed hats, heavily adorned with decoration. The

overall appearance looked terribly unflattering ‘The whole effect was bulbous and ugly’ Bill

(2003 p. 131).

Skirt

During the 1830s the skirts started from the natural waist line and reached the ankles ‘The

ankle length skirt was gently domed and fell from a round waistband’ Bill (2003 p.131). The

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puffed out shape was achieved by pleated fabric and numerous concealed garments and

support ‘Such an unnatural shape relied on a variety of undergarments.’ Bill (2003 p.131).

Skirts were decorative but had considerably less adornment than the skirts in the previous

decade ‘The hem might be embroidered or trimmed with applique designs usually about knee

level, but the fullness prevented the tiers of decoration so prevalent in the 1820’s.’ Laver

(1959 p. 404).

Bodice

The upper part of the dress was made up of a tight, fitted bodice and enormous, voluminous

sleeves ‘the full skirt contrasting with the small waist laced as tightly as possible.’

Cunnington (1959 p. 400). The waistline had moved from the high waist position from the

previous decade, to natural waist height ‘Regency gowns began to give place to a waistline at

natural height’ Gernsheim (1963 p. 25). To create the appearance of an incredibly small waist,

the wide skirt shape was contrasted with an extremely tight laced corset ‘The effect of tight

lacing can be increased by widening the skirt’ Laver (1969 p. 163). The waistline was

commonly rounded but after 1833, was sometimes pointed. The rounded waists were usually

fastened with buckled belts ‘With round waists buckled belts were usual.’ Laver (1959 p.

401). The neckline style differed depending on the time of day. For evenings the dress

neckline was cut low revealing the shoulders and neck ‘In the evening it was décolleté,

sometimes extremely so, with a straight- across top edge to the corsage’ Laver (1969 p. 166).

For daywear the neckline was less revealing, with additions of fabric pieces concealing the

body ‘In the daytime it was fashionable to wear a ruff’, ‘A wide, flat collar called a ‘pelerine’

covered the shoulders’ Laver (1969 p. 166).

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Sleeves

The sleeve shape helped achieve the desired look of a thin waistline by contrasting width

with a tight bodice ‘Fashions of the 1830 period with balloon sleeves’ Gernsheim (1963 p.

25). The sleeves were enormous, expanding from shoulder to elbow ‘gathered from armhole

to elbow’ Bill (2003 p. 131). There were different variations of voluminous sleeve styles

including Gigot, Imbecile, Donna Maria and a large hanging sleeve, the most popular being

the Gigot and Imbecile styles Cunnington (1959).

Hairstyles and headwear

Hairstyles and headwear worn in the early 1830s matched the elaborate dress styles and

completed the overall wide silhouette shape ‘upstanding giraffe hairstyles and flamboyant

hats’ Gernsheim (1963 p. 25). Large, wide brimmed hats decorated with various different

extravagant trimmings, were commonly worn ‘trimmed with a mass of flowers, ribbons and

feathers in striking colours’ Laver (1969 p. 164).

Hairstyles for daytime consisted of carefully arranged up dos and precise styling ‘Hair was

most elaborately arranged, with curls over the forehead and a chignon at the back of the head.’

Laver (1969 p. 165). In the evening the hair was gathered on the top of the head forming a

vertical shape known as the Apollo knot ‘For evenings, the hair was piled up high on a wire

frame in a style known as the Appolo Knot’ exhibition (Costume Drama 2011).

Outwear

Women’s outwear in the early 1830s was determined by the time of day. There were many

variations of outdoor garments including the Pelisse, Cloak, Mantle, Shawl and Mantlet ‘by

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1833 the curves had expanded and the hitherto sharp outlines tended to be blurred with

shawls, scarves, and other accessories.’ Moore (1971 p. 68).

Fabric and Colour

Fabrics commonly used for women’s dress in the 1830s include muslin, challis and cotton.

‘printed muslins of the 1820s and early 1830s’ Buck (1961 p. 23). Challis was commonly

used for day dresses ‘Challis, a mixed fabric of silk warp and fine worsted weft, was much

used for dresses between 1830 and 1840’ ‘It was mainly a fabric for day dresses but was also

used for less formal evening dress.’ Buck (1961 p. 23). Muslin was a fashionable choice ‘By

1840 printed muslins had lost the fashionable incentive of the 1820s and 1830s.’ Buck (1961

p. 23).

Colours were contrasted using light and dark hues together ‘The contrast of black with bright

and light colours was popular in the 1830s’ Buck (1961 p. 23). The surface patterns used

were colourful and vivacious and had a prominent appearance ‘The patterns, both printed and

woven, had less exuberance than those of the 1830s.’ Buck (1961 p. 23).

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Unknown author (1983)

1835-1840 Overview

During the five year period between 1835-40 women’s dress began evolving from the

fashionable widened, elaborate styles in the previous period, to modest, tightly fitted styles

that would continue to be fashionable through to the forties ‘In 1837 the romantic,

flamboyant modes of the first part of the decade began to be modified.’ Laver (1969 p. 168)

‘In 1836 fashions changed abruptly from displaying an air of rapturous buoyancy to one of

drooping restraint’ Cunnington (1959 p. 400). Women’s fashion was largely influenced by a

rapidly changing society; political revolution meant that the middle class now ruled ‘From

the mid- 1830s onwards, the middle class began to emerge as a dominant force in Britain’s

political, economic and social life’ exhibition (Costume Drama 2011). Wealthy women

during this period were required to do very little, as their husbands would provide for the

family. For this reason women’s dress was made very impractical to reflect their wealth and

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social status ‘The impracticality of fashionable styles demonstrated that a woman did not

work and that her husband was rich and successful.’ Bill (2003 p.133).

Skirt

During 1835-40 the skirt remained full and dome shaped much like the style in the early

thirties ‘long full skirt gauged or pleated into a dome form, and supported by a small

crescent- shaped bustle and innumerable petticoats.’ Gernsheim (1963 p. 25). An alteration to

the fashionable skirt occurred in 1836 when the skirt length was extended from ankle length

to the instep ‘ankle length until c. 1836 when it then descended to the instep.’ Cunnington

(1959 p. 403). After 1836 skirts were adorned with flounces ‘After 1836 one or two wide

flounces round the hem were common’ Cunnington (1959 p. 404).

Bodice

After the mid thirties the bodice lines altered to create an overall downwards pointed shape,

giving the appearance of a smaller waistline ‘All lines of construction, all lines of ornament,

on the bodice concentrated on carrying the eye to the pointed waistline, emphasizing- even

creating- the slender waist which was the fashionable ideal of the time’ Buck (1961 p. 19).

This shape was achieved by the combination of sloping shoulder lines and a pointed waist

‘The bodice had downward curving lines at the shoulder, repeated in the lines of the curving,

pointed waistline.’ Buck (1961 p. 19).

For eveningwear the neckline was low and tightly fitted ‘In 1836 semi- low décolletage

became fashionable and the fit became closer’ Buck (1961 p. 401).

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Sleeves

In 1836 the enormous sleeves worn in the early thirties, began to gradually collapse ‘After

1836: The sleeve collapsed in the early summer of that year’ Buck (1961 p. 403). Different

variations of the shrinking sleeve styles include the ‘Bishop Sleeve’ and the sleeve ‘en

bouffant’, both characterised by puffed and pleated expansions gathered into tight sections

‘Sleeves became gradually tighter to the arm’ (Costume Drama 2011). By 1837 the sleeves

were tight to the arm ‘By 1837 the tight sleeve was completely established’ Buck (1961 p.

20). After 1838 the sleeve was set low on the shoulder restricting movement of the arms ‘The

sleeve eventually became extremely tight and was set so low on the shoulder that lifting the

arm became difficult’ Bill (2003 p. 133).

Hairstyles and Headwear

During the latter half of the 1830s the vogue for headwear changed from oversized,

decorative hats to the bonnet ‘The most striking change was in headgear: tied firmly under

the chin, it was no longer a hat but a bonnet Laver (1969 p. 168). The bonnet partly concealed

the head and face conveying an air of modesty and respectability ‘It was worn close to the

head in the form of a coal-scuttle and gave an impression of extreme modesty’ Laver (1969 p.

168) ‘Broad- brimmed poke bonnets obscured the face’ Bill (2003 p. 133).

Headwear, as with sleeve style, decreased in size during the latter half of the 1830s ‘All

forms tended to diminish in size from the middle of the decade, becoming increasingly

demure’ Cunnington (1959 p. 412). Hairstyles too, decreased in size and were less elaborate

‘Elaborate hairdressing was abandoned except for the ringlets which framed the face’ Laver

(1969 p. 168). Women’s hair was commonly worn in plaits and curls ‘The hair was now worn

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close to the head, with ringlets hanging down the side of the face’ Bill (2003 p. 133) ‘Plaits

and curls, often false, were so arranged as not to spoil the essential oval of the face’ Moore

(1971 p. 72).

Subtle headwear and hairstyles added to the overall desired look, giving an impression of

modesty and respectability ‘the ubiquitous poke- bonnet and shawl or mantle produced a

peculiarly respectable appearance’ Gernsheim (1963 p. 25) ‘Dress became less showy than

before and more genteel and reserved’ exhibition (Costume Drama 2011).

Fabric and Colour

After 1836 fabric colours gradually darkened, adding to the subtlety of the overall ensemble

‘The colours tended gradually to soften towards secondary and tertiary tints, especially after

1836’ Cunnington (1959 p. 406). Pastel shades were common during the late thirties ‘pastel

shades were equally in vogue.’ Moore (1971 p. 72). Fashionable fabrics used during the latter

half of the 1830s include chine silk, brocaded silk, challis and tartan. ‘towards the end of the

decade chine silk became fashionable’ Cunnington (1959 p. 407) ‘Tartans and pastel shades

were equally in vogue’ Moore (1971 p. 72) ‘The silks which were used for evening wear

between 1935 and 1945 include brocaded silks, richly flowered, like those in the eighteenth

century’ Buck (1961 p. 22). Some women would economise by reusing materials from

eighteenth century dress ‘economical women of the late 1830s and early 1840s who could lay

their hands on an eighteenth-century dress has it remade in the fashion of their won day.’

Buck (1961 p.22).

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Unknown author (1983)

1840-1845 Overview

During the early 1840s women’s fashion changed to assume the quintessential look

associated with the Victorian Era ‘The phase of ‘Victorian Gothic’ reached its perfect

expression in this decade and an architect would at once recognise the dress as typically

‘Early English’ Cunnington (1959 p. 420). Early 1840s Victorian dress silhouette was

characterized by clean, sharp lines, downward pointing angles and tightly fitted shapes

‘These plain, clean lines of the 1840s mark the climax of the first style of the reign.’ Buck

(1961 p. 19). Women’s fashions during this period communicated how they were viewed

within society, meek and obedient ‘Never before or since has Western women’s costume

expressed respectability, acquiescence and dependence to such a degree as the 1840s’

Gernsheim (1963 p25) ‘Dress was, as always, an expression of a woman’s place in society’

Gernsheim (1963 p. 26).

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Skirt

During the early 1840s the skirt continued to grow wider, with various techniques being used

to achieve a greater width. These different techniques included the use of numerous petticoats,

layering, pleats and the introduction of horsehair cloth, the earliest form of the crinoline

‘Jupons de crinoline are mentioned as early as July 1840. These Petticoats lined with stiff

horsehair cloth were recommended as being ‘very light and cool, and make the dress sit

beautifully’.’ Gernsheim (1963 p.27). In 1840 a specific pleating method called ‘organ

pleating’ was used to increase width in the skirt ‘the material being gathered into the waist,

from 1841 to 1846, by organ pleating’ a device peculiar to those years, and composed of

small tubular pleats drawn close together’ Cunnigton (1959 p. 423). The skirt length

increased so that it was now touching the toe ‘this was long enough to touch the toe of the

shoe and very full’ Cunnington (1959 p. 422).

Skirts were sometimes decorated with flounces, a vogue continuing on from the 1830s and

becoming more popular ‘Day dresses in the early ’forties usually had a plain skirt,

occasionally with one or two wide flounces at the bottom. From 1843 onward flounces

became increasingly in evidence, and were sometimes scalloped or pink at the edges’ Laver

(1963 p.28).

Bodice

The waist was a predominant feature of 1840s women’s dress, as it was essential to the

overall silhouette, in creating the downwards pointing lines of the garment ‘The shape of the

dress emphasised long pointed angles directed towards the pinched – in waist, now extremely

low’ ‘Characteristics of this period are a tight-fitting pointed bodice’ Gernsheim (1963 p. 25).

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During the eighteen forties the waist continued to lengthen ‘During the 1840s the tapering

bodice-form lengthened, bringing the waist as low as possible.’ Buck (1961 p. 19).

Decoration and patterns were used to accentuate the downwards pointing angles ‘The waist

was low, and all lines of decoration on the bodice were designed to make it look even more

so.’ Laver (1969 p. 173) ‘The slim pointed waist, emphasised by the arrangement of the

striped material above the widening skirt, is the line of the 1840’s at its most characteristic’

Art Galleries Committee (1951 p. 25). The angles were further exaggerated by adding

decorative detail starting from the shoulders, reaching to the waist ‘1841 saw the introduction

of an arrangements of pleats, folds, or trimming from the sloping shoulders to the point of the

waist, called ‘revers en pelerine’ Gernsheim (1963 p. 28).

Evening dresses had a low cut neckline, revealing the shoulders and chest ‘The neckline was

very low from shoulder to shoulder’ Gernsheim (1963 p .28). The style was either cut straight

across or had a small dip in the centre ‘Evening dress was décolleté, off the shoulder and

either straight across or with a slight dip in the middle’ Laver (1969 p. 174). The low

neckline was often edged with rows of horizontal pleats ‘The horizontal pleats across the top

of the corsage are very typical of this period’ Laver (1969 p. 174). Another important feature

was the ‘bertha’, made up of rows of trimmings starting from the neckline, covering the

sleeves and reaching down to just above the waist line ‘A bertha was a deep falling border

made up of one or more lace frills, ribbon and fancy decoration, and this usually covered the

sleeves’ Cunnington (1959 p. 426).

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Sleeves

Sleeve style changed drastically during the first half of the 1840s, when a transition from the

voluminous, bouffant sleeve to the tighter style sleeve occurred ‘By 1840, even at a less

fashionable level, the sleeve fitted closely’ Buck (1961 p. 20).

There were still variations in the style of sleeves during the early 1840s; all styles were

becoming more tightly fitted to the arm and some would be considered unfashionable after

the early years. Existing styles included the tight sleeve ‘Tight to the wrist and sometimes

made with a tight short over-sleeve or with a few mancherons on the shoulder’ Cunnington

(1959 p. 422), ‘The Victoria sleeve’ ‘The Victoria sleeve as formerly, with fullness at the

elbow but tight above and below. Ruching above or a few bouffants were common’

Cunnington (1959 p. 422). , ‘The Bishop sleeve’ ‘The Bishop sleeve, discarded early in the

decade’ Cunnington (1959 p.422) and a tight sleeve with bell shaped expansion ‘A tight

sleeve with a small bell- shaped expansion just below the elbow began to appear in 1843’

Cunnington (1959 p. 422).

Hairstyles and Headwear

During the 1840s the bonnet continued to be the most popular form of headwear for women

‘This was almost the universal headgear, the shape remaining unchanged throughout the

decade, the fixity form being more marked than at any other time.’ Cunnington (1959 p. 435).

Caps were often worn indoors ‘Caps were small, not tied under the chin, and worn far back

on the head’ Cunnington (1959 p. 434).

Bonnets during the first half of the forties were shaped like an oval to frame the face ‘The

sides of the brim curved down over the ears forming an oval frame to the face’ Cunnington

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(1959 p.435). Poke bonnets were in vogue, a style where the sides of the bonnet reached out

past a woman’s side profile ‘The poke bonnet prevented even their faces from being seen

except from directly in front.’ Laver (1969 p.172). Both bonnets and caps came down low at

the sides of the face and were decorated with an assortment of trimmings and fabrics ‘In the

1840s all bonnets, indoor caps and evening headdress’s came down low at the side of the face.

Bonnet brims almost met beneath the chin, and were often lined with gauged or gathered net

or tulle, and trimmed with flowers inside the brim, framing the face’ Gernsheim (1963 p. 27).

Bonnet shape gradually changed during the forties, becoming smaller and circular in

comparison to the large, oval shaped Poke bonnet style ‘The ubiquitous bonnet is becoming

smaller and rounder’ Gibbs- Smith (1960 p. 4).

One fashionable hairstyle in the early 1840s was to have curls hanging at the sides of the face

‘The hair was now worn close to the head, with ringlets hanging down the side of the face’

Bill (2003 p. 133). Other styles included loops or plaits instead of curls ‘the alternative of

loops or plaits of hair in front of the ears’ Gernsheim (1963 p. 28).

Outwear

The forties saw numerous styles of cloaks being invented and worn throughout the decade

‘Various new forms of cloaks were invented, and were given different names according to

whether they had capes, sleeves or slits through the arms or all three together.’ Laver (1969 p.

175). The three main outwear garments worn in the forties were the Shawl, the Cloak and

Mantle and the Pardessus. There were numerous different names given to each separate style

of the three garments ‘The difference between casawecks, polkas and pardessus were trifiling’

Laver (1969 p. 175). The shawl continued to be fashionable throughout the forties ‘The shawl

had now come back in favour’ Laver (1969 . 175).

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Fabric and Colour

Colour and patterns were kept subtle and understated during the 1840s ‘A marked preference

for delicate tints always harmonising with each other’ Cunnington (1959 p. 428) ‘a host of

patterns usually composed of small floral designs; stripes tending to be narrow’ Cunnington

(1959 p. 428). The colours used were toned down when compared with thirties fashions,

bright colours were now considered unfashionable ‘Primary colours were thought in bad taste.

Printed materials with all-over patterns in mixed colours but never glaring.’ Cunnington

(1959 p. 428) ‘Delicate shades of vegetable dyes were carefully harmonized, and bright

colours frowned upon as vulgar’ Gernsheim (1963 p. 26).

The main fabrics used for all types of women’s dress were silks ‘Silk fabrics of all kinds were

the main materials for dresses, even in the morning’ Gernsheim (1963 p. 270). The silk

materials used included Striped Pekin silks, chameleon, checks, plaid or shot silk. For

daywear merino, broadcloth, Levantine, foulard, gingham, alpaca, tarlatan and organdie were

all used ‘The favourite materials for day dresses were broadcloth, merino, foulard, organdie,

gingham and tarlatan’ Laver (1969 p. 174). For eveningwear mostly silks and velvet fabrics

were used ‘Evening dresses were usually made of shot silk or velvet’ Laver (1969 p. 174)

‘Evening dress, 1841-43, pale blue silk’ Art Galleries Comittee (1951 p. 25).

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Unknown author (1983)

1845-1850 Overview

The latter part of the 1840s was a continuation on from the first half of the decade, forties

fashion was now at its peak ‘The primly sentimental phase is now at its height, fashion has

slowed up, and will remain more or less static until the late 1850’s.’ Gibbs- Smith (1960 p. 4).

The same ideals and mood continued throughout the forties ‘1847- The pendulum having

swung against the high spirits of romantic dress; clothes now had a drooping air’ Moore

(1971 p. 80). Many aspects of women’s dress remained the same; however there were some

changes that would develop into 1850s fashionable dress.

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Skirt

Throughout the forties the skirt length and width gradually increased. After 1845 the skirt

width had increased ‘generally only a small proportion of dresses before 1845 have a hem-

width greater than four yards; after 1845 a width of between four and five yards is general’

Buck (1961 p. 20). Skirts lengthened until they eventually reached the floor ‘Prudery reigned

supreme; skirts were now down to the ground, and the little feet in flat-heeled slippers could

barely be glimpsed beneath the underskirts’ Laver (1969 p. 172).

During the late forties skirts were decorated with velvet fabrics to contrast with the

appearance of the silk ‘It was applied in bands round the widening sleeve opening and on the

skirt’ Buck (1961 p. 24). The use of trimmings could be seen after 1846 ‘Sometimes a light

braid was used and, after 1846, fringe trimmings began to appear’ Buck (1961 p. 24).

Bodice

The essential bodice shape remained the same throughout the 1840s however some changes

appeared in the late forties that would be developed to become fashions of the fifties. One

change, occurring in 1846, was the introduction of bodices with basques ‘After 1846, bodices

with basques began to appear, the first stage of the new jacket bodice with basques which is

the main style of the 1850s.’ Buck (1961 p. 21).

Sleeves

In the second half of the forties sleeves began to widen at the wrist, a fashion that reached its

peak in the 1850s and would continue through to the sixties ‘When the sleeve widened at the

wrist in the second half of the 1840s, short under sleeves of muslin, net or lace were worn’

Buck (1961 p. 25).

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Hairstyles and headwear

In the latter part of the forties, bonnets changed shape from an oval to a circular brim

‘Gradually bonnets became smaller and the brim opening changed from a vertical oval in the

first half of the forties to a circular outline at the end.’ Gernsheim (1963 p. 29). In 1848 the

bonnet could be pulled tight, forming the circular shape, after the introduction of strings

attached to the bonnet brim ‘From 1848 the strings were usually attached to the brim itself so

that when tied the brim was drawn towards the chin, forming a circular frame to the face’

Cunnington (1959 p. 435).

Hairstyles remained the same throughout the forties consisting of different ways of displaying

the hair on the sides of the face. ‘hair was draped, looped or ringleted with a falling look’

Moore (1971 p. 80). These included plaited circles, ringlets and side tresses ‘The side tresses

were draped around the ears completely covering them, and then were turned up to be

included in the bun or ‘knot’ at the back of the head’ Cunnington (1959 p. 463).

As with dress design in the early forties, headwear and hair decorations were subtle and

restrained in comparison to the thirties ‘hair decoration was comparatively restrained’

Cunnington (1959 p. 438) ‘trimming was moderate as compared with the 30’s’ Cunnington

(1959 p. 438) ‘The lack of added ornament is an outstanding characteristic of the dress of the

1840s’ Buck (1961 p. 24).

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Outwear

Shawls increased in length towards the end of the forties ‘By the end of the decade the ‘long

shawl’, six feet by four, was coming in’ Cunnington (1959 p. 432).

Colour and fabric

Silk remained fashionable ‘Shot silk is much used during this decade’ Art Galleries

Committee (1951 p. 25).

This initial research into women’s dress 1830-50 is essential in order to conduct an informed

analysis of the costumes mentioned in the novel and in the film. Key costume features,

suggesting context and purpose, can be identified using this background research information.

This dissertation will now go on to examine key extracts from the novel, containing vital

information about the original women’s dress in Jane Eyre, as described by the author

Charlotte Bronte. These dress descriptions will provide information about the female

character’s as it was fully intended, before it was altered to appear on screen.

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Chapter Two: Women’s dress in the novel Jane Eyre

Townsend, F.H (1896)

The 1847 novel Jane Eyre by Charlotte Bronte is filled with descriptive details about

different character’s dress. Dress plays a vital part in forming the characters and the storyline,

highlighting the contrast between Jane, considered poor and plain ‘Do you think, because I

am poor, obscure, plain and little’ Bronte (1847 p. 255) ‘I dressed myself with care: obliged

to be plain’ Bronte (1847 p. 98), and the extravagant aristocracy ‘A crimson velvet robe and a

shawl turban of some gold-wrought Indian fabric invested her (I suppose she thought) with a

truly imperial dignity.’ Bronte (1847 p.172) ‘The pattern of contrast between the

unobtrusively plain and the extravagantly ornate is a simple one in Jane Eyre.’ Jennifer

Oldfield (1973 p.181).

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Jane’s dress

Charlotte Bronte focuses on Jane’s dress throughout the novel, providing an insight into the

wardrobe of the Victorian governess. These descriptions provide us with some historical

accuracy about women’s dress during the Victorian period. Descriptions such as garment

style, fabrics, colour, hair and accessories are mentioned throughout the novel, suggesting

time period and context.

The plain, understated appearance of Jane’s dress is communicated numerous times

throughout the novel ‘obliged to be plain- for I had no article of attire that was not made with

extreme simplicity’ Bronte (1847 p. 98) ‘my dress which as usual, was quite simple’ Bronte

(1847 p. 114) ‘I took a plain but clean and light summer dress’ Bronte (1847 p. 260). The

modest appearance of Jane’s dress is further exaggerated by describing it as ‘Quakerlike’

Bronte (1847 p. 98) and a ‘Quaker trim’ Bronte (1847 p. 129).

Another principal feature of Jane’s dress is the colour black ‘my black stuff travelling dress’

Bronte (1847 p. 89) ‘put on my black frock’ Bronte (1847 p. 98) ‘A black merino cloak’

Bronte (1847 p. 114). Black is the predominant colour worn by Jane throughout the novel,

communicating her inferior social status as the governess. The colour black combined with

her plain, ‘quakerlike’ clothing creates an image of the poor, obscure governess character.

The only two references to colour in Jane’s dress is when she wears her finest dress whilst

there are guests staying at Thornfield ‘my best dress (the silver grey one)’ Bronte (1847 p.

171), and after Mr Rochester’s proposal ‘I’ll be married in this lilac gingham’ Bronte (1847 p.

271). These two occasions describe her dressed differently to her usual, every day wear.

Fabrics worn by Jane in the novel include ‘silk’ in the form of a handkerchief tied round her

neck Bronte (1847 p. 329), a ‘merino cloak’ Bronte (1847 p. 114) and a ‘silk frock’ Bronte

26

(1847 p. 354). Both silk and merino were commonly used during the 1840s ‘Silk fabrics of all

kinds were the main materials for dresses, even in the morning’ Gernsheim (1963 p. 270)

‘1840-1850 Dress Materials, Day: merino’ Cunnington (1959 p. 428).

Jane is described wearing her bonnet on many occasions in the novel. The bonnet is first

mentioned just after she has departed from Lowood to pursue her position as Governess

‘prepared my bonnet’ Bronte (1847 p. 89). Other references include Jane’s ‘black beaver

bonnet’ Bronte (1847 p. 114), worn when she first meets Mr Rochester, and the ‘cottage

bonnet’ she wears whilst Mr Rochester’s guests stay at Thornfeild Hall. The ‘beaver bonnet’

is typical of 19th

century headwear ‘In the 19th

c. ‘the bodies of beaver hats are made of a firm

felt up of fine wool, rabbits’ hair etc…over this is placed the nap prepared from the hair of a

beaver’ Beard and Cunnington (1960 p. 14). The ‘Cottage Bonnet’ dates from 1808 to 1870

and is made from straw ‘1808 to 1870’. A close-fitting straw bonnet, the brim projecting

beyond the cheeks’ Beard and Cunnington (1960 p. 54). Jane’s bonnet is also described as

having ‘bonnet strings’ Bronte (1847 p. 96) when she first arrives at Thornfeild Hall, which

may suggest the time period is after 1848‘From 1848 the strings were usually attached to the

brim itself so that when tied the brim was drawn towards the chin, forming a circular frame to

the face’ Cunnington (1959 p. 435).

Charlotte Bronte includes details about Jane’s accessories, presenting a picture of Jane’s full

attire. Accessories mentioned include her gloves, footwear and jewellery. Jane is often

described wearing gloves ‘prepared my bonnet, gloves and muff’ Bronte (1847 p. 89) ‘took

off my bonnet and gloves’ Bronte (1847 p. 231) ‘I had my gloves’ Bronte (1847 p. 329)

suggesting the time period 1840s ‘hands were seldom ungloved even indoors’ Gernsheim

(1963 p. 26).

27

Jane’s footwear is mentioned on a few occasions, she notices her ‘sandal was loose’ Bronte

(1847 p. 180), takes her ‘slippers’ Bronte (1847 p. 323) and mentions her ‘shoes and

stockings Bronte’ (1847 p. 345). Slippers were worn in the daytime between 1840- 1850

‘Shoes in the form of slippers were worn’ Cunnigton (1959 p. 438).

Jane’s dress is often without ornamentation; however there are a couple of occasions when

she is described wearing accessories. She explains ‘I had a small silk handkerchief tied round

my throat’ Bronte (1847 p. 329) after fleeing from Thorn field Hall when she discovers the

truth about Mr Rochester. She describes her ‘sole ornament, the pearl brooch’ Bronte (1847 p.

171) worn with her finest dress, whilst Mr Rochester’s guests stay at Thornfield hall.

Towards the end of the novel Mr Rochester buys Jane gifts which she reluctantly accepts,

including ‘a pearl necklace’ Bronte (1847 p. 323). Another small detail mentioned about

Jane’s dress is a ‘clean white tucker’ Bronte (1847 p. 98). A tucker was a white edging placed

on the neckline, worn during the eighteenth and nineteenth century ‘18th

and 19th

c’s term. A

white edging, usually frilled, of lace, lawn muslin, or soft material, to a low- necked bodice’

Beard and Cunnington (1960 p. 219).

Jane’s hair, much like her dress, is always worn in a plain style. She wears it smooth, ‘my

hair very smooth’ Bronte (1847 p. 98) ‘my hair was soon smoothed’ Bronte (1847 p. 171),

very typical of fashionable hairstyles in the 1840s ‘The hair was now worn close to the head’

Bill (2003 p. 133). Jane again mentions the plainness of her style, referring to her braided hair

‘all being too close and plain, braided locks included’ Bronte (1847 p. 129), another style

commonly worn in the 1840s ‘the alternative of loops or plaits of hair in front of the ears’

Gernsheim (1963 p. 28).

28

Various types of outwear are worn by Jane in the novel, including her cloak, muff, mantle,

shawl and pelisse. Jane often wears her muff ‘my bonnet, gloves and muff’ Bronte (1847 p.

89), ‘my muff and umbrella’ Bronte (1847 p. 93), ‘sheltering my hands in my muff’ Bronte

(1847 p. 111) a common accessory worn during the forties ‘1840- 1850: Of medium size,

made of fur and often with boas to match’ Cunnington (1959 p. 441). She often refers to her

shawl ‘remove my shawl’ Bronte (1847 p. 96), ‘pinned my shawl’ Bronte (1847 p. 323), ‘I

covered deficiencies with a shawl’ Bronte (1847 p. 345). Jane’s ‘black merino cloak’ Bronte

(1847 p. 114) and ‘mantle’ Bronte (1847 p. 111) are very typical of 1840s outwear ‘1840-

1850 the cloak and mantle’ Cunnington (1959 p. 433). She refers to her ‘drab merino pelisse’

Bronte (1847 p. 230), also fashionable in the 1840s ‘1840- 1850 The Pelisse was a three-

quarter-length pardessus with a short pelerine’ Cunnington (1959 p. 434).

The upper class

Jane’s ‘plain’ Bronte (1847 p. 260), ‘Quakerlike’ Bronte (1847 p. 98) dress in the novel is

contrasted with descriptions about the upper class female character’s dress, in particular

‘Blanche Ingram’s appearance.

Towards the beginning of the novel, when Jane is a child, there are details given about some

of the adult character’s dress. Jane describes ‘Mrs Reed came along the corridor, her cap

flying wide, her gown rustling stormily’ Bronte (1847 p. 12). Mrs Reed’s cap ‘flying wide’

suggests the time period was between the 1830- 1840s, when caps were ‘all tied under the

chin or the ribbon ties were left loose’ Cunnington (1959 p. 412) rather than the caps worn

during the forties ‘Caps were small, not tied under the chin, and worn far back on the head’

Cunnington (1959 p. 434).

29

Another extract, describing Jane’s teacher at Lowood School, Maria Temple’s dress, provides

an accurate insight into the time period. Maria’s hair is described, ‘on each of her temples her

hair, of a very dark brown, was clustered in round curls, according to the fashion of those

times, when neither smooth bands nor long ringlets were in vogue’ Bronte (1847 p. 43). This

hairstyle was typical of fashions during 1830-1840 ‘1830-1840- with tight curls round the

temples’ Cunnington (1959 p. 416). The extract states hairstyles worn in the forties were not

yet in fashion ‘1840- 1850- Arranged in a group of ringlets falling to the neck’ ‘The side

tresses were draped round the ears completely covering them’ Cunnington (1959 p. 436)

providing evidence that the time period is during the thirties. Maria’s dress is described ‘also

in the mode of the day, was of purple cloth, relieved by a sort of Spanish trimming of black

velvet’ Bronte (1847 p. 43). The ‘cloth’ fabric making up ‘Maria’s dress, was used in the

thirties during winter ‘1830-1840- Cloth for winter’ Cunnington (1959 p. 407). ‘Maria’ also

wears a ‘gold watch ‘(watches were not so common then as now)’ Bronte (1847 p. 43)

suggesting the time period is during the 1830s as watches were commonly worn during the

forties ‘1840-1850- Dainty little gold watches’ Cunnington (1959 p. 441).

Blanche Ingram’s appearance is first mentioned when Jane is working at Thornfeild Hall.

‘Mrs Faifax’ describes Blanche ‘a crown of thick plaits behind, and in front the longest

glossiest curls I ever saw. She was dressed in pure white; an amber-coloured scarf was passed

over her shoulder and across her breast, tied at the side, and descending in long fringed ends

below her knee. She wore an amber coloured flower too, in her hair’ Bronte (1847 p.159).

‘Blanche’s hairstyle, with curls falling in front of her face, suggest an eighteen forties time

period. The ‘amber coloured flower’ Bronte (1847 p. 159) also suggests eighteen forties time

period ‘1840-1850- wreaths of flowers’ Cunnington (1959 p. 437). The ‘amber- coloured’

30

detail used in ‘Blanche’s dress communicates her wealth and status, in comparison to Jane’s

black clothing ‘put on my black frock’ Bronte (1847 p. 98).

Charlotte Bronte uses descriptive language creating strong imagery which captures the beauty

and elegance of Blanche Ingram’s appearance ‘Her purple riding habit almost swept the

ground, her veil streamed long on the breeze; mingling with its transparent folds, and

gleaming through them shone rich raven ringlets’ Bronte (1847 p. 167). In comparison she

uses concise descriptions of Jane’s appearance, usually listing her garments ‘my black stuff

travelling dress, prepared my bonnet, gloves and muff’ Bronte (1847 p. 89). ‘Blanche’ is

described again ‘she wore a morning robe of sky-blue crape; a gauzy azure scarf was twisted

in her hair.’ Bronte (1847 p. 225). The bright blue colours in her dress are highlighted here,

contrasting with Jane’s black dress ‘put on my black frock’ Bronte (1847 p. 98).

Another female character’s dress mentioned in the novel is ‘Rosamund Oliver’s, ‘John

River’s admirer. She wears a ‘purple habit’ and a ‘cap of black velvet, placed gracefully

above the long curls that kissed her cheek’ Bronte (1847 p. 373). She is mentioned again

wearing ‘a dark blue silk dress: her arms and her neck were bare: her only ornament was her

chestnut tresses’ Bronte (1847 p. 375). Her ‘silk dress’ suggests an eighteen forties time

period when silk was commonly worn ‘Silk fabrics of all kinds were the main materials for

dresses, even in the morning’ Gernsheim (1963 p. 270). The colours ‘purple’ and ‘dark blue’

worn by Rosamund, were worn in the forties when bright colours were then considered

unfashionable ‘Delicate shades of vegetable dyes were carefully harmonized, and bright

colours frowned upon as vulgar’ Gernsheim (1963 p. 26).

31

This dissertation will now look at visually analysing the dress in the 2011 Jane Eyre film in

comparison to the women’s dress descriptions appearing in the 1847 novel, identifying key

differences and their purpose within the medium of film.

32

Chapter Three: Jane Eyre 2011 Film- Female Costumes

Grey Governess

When analysing the differences between women’s dress described in Jane Eyre 1847 novel

and the 2011 film costumes, it becomes apparent the original dress has been changed

considerably to appear on screen. The costume designer Michael O’Connor explains ‘The

character doesn’t have to be exact, but you don’t want them to be unrecognizable. It’s about

achieving the spirit of the character, I think’ (O’Connor 2012).

One obvious difference is Jane’s grey dresses in the 2011 film, rather than her character

usually wearing black in the novel ‘put on my black frock’ (1847 p. 98). Michael O’Connor

explains ‘I just thought, “How would we make something exciting in all black?” So, instead

of black, she could be in dark grey, and it could show more of the style, or detail’ (O’Connor

2012).

Jane wears a number of different grey dresses throughout the film, each one made in a

slightly different shade. This adds a subtle variation to her costumes. Michael O’Connor says

“An early challenge for the character of Jane was to make her costume develop from dark

severe greys to paler greys’ (O’Connor 2012). Michael O’Connor uses the different shades of

grey to convey emotion ‘Although Jane appears to be wearing the same governess uniform

over and over, the collar and shades of grey are changing slightly depending on her mood’

(O’Connor 2012).

33

Jane Eyre (2011) Directed by Cary Fukunaga [Film]. Worldwide: Focus Features.

In the last scene when Jane returns to Thornfield Hall, she wears a brown coloured dress

which communicates Jane breaking away from her Governess role ‘to paler greys and

eventually leave the grey governess behind’ (O’Connor 2012).

.

1830s

Near the start of the 2011 film the female character’s dress reflects the eighteen thirties time

period. Young Jane is again dressed in grey. Her dress has puffed shoulders and upper arms,

gradually tightening to her wrists. This puffed shoulder detail suggest eighteen thirties style

dress ‘Fashions of the 1830 period with balloon sleeves’ Gersheim (1963 p. 25). Her

waistline is rounded and her skirt reaches above her ankles, both are features of eighteen

thirties dress. Jane’s hair is tied back in a simple style. Her dress is plain looking in

comparison to the other children’s appearing in this scene. Two young girls can be seen

wearing luxurious pastel coloured dresses with their hair styled in elaborate up dos. Their

dresses also display features typical of eighteen thirties dress, with round waists and skirts

34

reaching to above the ankle. Both girls’ dresses have enormous puffed shoulders contrasting

with Jane’s simplified version. Their more extravagant dresses communicate their superior

status.

Jane Eyre (2011) Directed by Cary Fukunaga [Film]. Worldwide: Focus Features.

35

Jane Eyre (2011) Directed by Cary Fukunaga [Film]. Worldwide: Focus Features.

Jane’s cruel aunt Mrs Reed’s sumptuous costumes are made to stand out. Her gown made

from rich, opulent fabrics in deep royal colours and with its enormous balloon sleeves, gives

her an overpowering appearance to match her character. Her hair is worn up in an Apollo

knot style adding to her harsh, tight character. Her accessorising is excessive, she wears a

shawl, fur scarf, large cameo necklace and earrings with one outfit and a gold wrist watch,

cameo necklace and jewelled belt with another. Over accessorising was fashionable during

the eighteen thirties, displaying wealth and status. Her dress and hair are very accurate to

eighteen thirties style ‘Apollo Knot, fixed at the top of the head’ Laver (1969 p. 164).

36

Jane Eyre (2011) Directed by Cary Fukunaga [Film]. Worldwide: Focus Features.

Mrs Reed’s dress is barely mentioned in the novel so her costume has been designed with

context, character and other costume considerations in mind.

1840s

When Jane leaves Lowood School’ in the novel, a further eight years have passed, suggesting

Jane is eighteen years of age and the time period is the eighteen forties ‘Hitherto I have

recorded in detail the events of my insignificant existence: to the first ten years of my life, I

have given almost as many chapters.’ Bronte (1847 p. 82) ‘therefore I now pass a space of

eight years in silence: a few lines only are necessary to keep up the links of connection’

Bronte (1847 p. 82).

In the 2011 film we see Jane leaving Lowood School’ dressed in a large black bonnet tied

under her chin, a neck scarf, checked grey gown and a knee length hooded cloak. In the novel

she describes ‘I had brushed my black stuff travelling dress, prepared my bonnet, my gloves

37

and muff’ Bronte (1847 p. 89). During her journey she also says ‘I sit in my cloak and bonnet;

my muff and umbrella lie on the table’ Bronte (1847 p. 93). Her costumes in the film show

some similarities; however there are slight changes such as the absence of Jane’s gloves,

muff and umbrella and the addition of a neck scarf. Jane’s bonnet in the 2011 film resembles

a Poke bonnet style worn during the early forties ‘The sides of the brim curved down over the

ears forming an oval frame to the face’ Cunnington (1959 p.435).

Jane Eyre (2011) Directed by Cary Fukunaga [Film] Worldwide: Focus Features.

In the 2011 film Jane spends her first day at ‘Thornfield Hall’ wearing a flattering, fitted prim

dress. Her dress has sloping shoulder details pointing down towards the waist, a predominant

feature of women’s eighteen forties dress ‘The shoulders drooped’ Cunnington (1959 p. 420).

The dress is made from a patterned fabric depicting tiny flowers, very typical of eighteen

forties style ‘a host of patterns usually composed of small floral designs; stripes tending to be

narrow’ Cunnington (1959 p. 428). Underneath the high neckline of Jane’s dress there is a

delicate lace collar detail, also a common feature of eighteen forties dress ‘1840-1850 small

38

turn down collars, fichus, lace and net pelerines, tuckers, berthas, and chemisettes were all in

use.’ Bronte (1847 p. 432). Jane’s hair is worn smoothed into sections covering her ears.

Jane Eyre (2011) Directed by Cary Fukunaga [Film]. Worldwide: Focus Features.

In the same scene in the novel Jane says ‘I had no article of attire that was not made with

extreme simplicity’ Bronte (1847 p. 98), she says ‘I had brushed my hair very smooth, and

put on my black frock- which, Quakerlike as it was, at least had the merit of fitting to a

nicety- and adjusted my clean white tucker’ Bronte (1847 p. 98). The plain appearance of her

dress is exaggerated ‘extreme simplicity’ ‘Quakerlike’ Bronte (1847 p.98) unlike the film

costume made from grey fabric, highlighting intricate frilled edging, tiny button fastenings

and a floral print. The essential dress elements are the same as descriptions from the book;

however more detail is included to form a pleasing aesthetic appearance on screen.

In the 2011 film when Jane is made to sit in the room with Mr Rochester’s guests including

‘Blanche Ingram’, she wears a dull, dark grey dress devoid of any added detail or decoration.

The dress has a dipped neckline with sloping shoulder detail and puffed out, ill-fitting sleeves.

39

The dress in this scene is the plainest style of all the dresses worn by Jane during the film.

This is very different to Jane’s dress descried in the novel, Jane says ‘my best dress (the silver

grey one, purchased for Miss Temple’s wedding, and never worn since) was soon put on; my

hair was soon smoothed; my sole ornament, the pearl brooch, soon assumed’ Bronte (1847 p.

171). In the novel she chooses to wear her best dress for the occasion unlike her plainest dress

in the film. Jane’s dress in the film communicates her feelings of inadequacy compared to Mr

Rochester’s guests; she feels she disappears within the room blending into her grey

surroundings.

Jane Eyre (2011) Directed by Cary Fukunaga [Film] Worldwide: Focus Features.

The differences between Jane and Blanche Ingram are exaggerated in the film by contrasting

how they dress. Blanche wears a beautiful, opulent evening gown cut low from shoulder to

shoulder and made from a shimmering coffee coloured fabric, adorned with black lace and

pink roses. Her hair is worn in perfect ringlets falling at sides of her face, with a delicate rose

head decoration. Blanche’s ensemble is very accurate of eighteen forties evening wear

‘Evening dress was décolleté, off the shoulder and either straight across or with a slight dip in

40

the middle’ Laver (1969 p. 174). Her elegance and beauty is contrasted with Jane’s plain,

drab appearance.

Blanche Ingram appears slightly differently to how she is described in the novel ‘a crown of

thick plaits behind, and in front the longest glossiest curls I ever saw. She was dressed in pure

white; an amber-coloured scarf was passed over her shoulder and across her breast, tied at the

side, and descending in long fringed ends below her knee. She wore an amber coloured

flower too, in her hair’ Bronte (1846 p. 159), however some details remain the same;

including her hairstyle and the flower she wears in her hair. Although her outfit is different in

the film compared with the novel, her dress is similar in its extravagance and colours,

portraying the same ideas about her character’s superiority.

Jane Eyre (2011) Directed by Cary Fukunaga [Film]. Worldwide: Focus Features.

One character that doesn’t make an appearance in the 2011 film is Rosamund Oliver. Her

dress and hairstyles are mentioned in great detail in the 1847 novel ‘Anything more exquisite

41

than her appearance, in her purple habit, with her Amazon's cap of black velvet placed

gracefully above the long curls that kissed her cheek’ Bronte (1847 p. 373).

The most noticeable change in Jane’s dress during the film is her last outfit. She wears a

brown coloured patterned frock with a detailed bodice, decorated with bows and fringing.

She wears a delicate lace collar and small velvet tie on the neckline. Her accessories include

fingerless gloves, a paisley shawl and a pretty bonnet. This is Jane’s most detailed and

decorative ensemble, as it is made to stand out from her grey Governess dresses and

communicate change. The costume and accessories were made using replicated eighteen

forties fabric and original antique materials to create an authentic look. Michael O’Connor

explains ‘One of my favourite costumes is when, at the end of the film, Jane returns to

Thonfield and wears a brown with ribbon print dress which was made from an imported

American cotton print fabric based on prints of the time . She wears a bonnet made from a

combination of antique and modern straw, fabricated in an openwork design to give it a

lightness’ (O’Connor 2012).

Jane Eyre (2011) Directed by Cary Fukunaga [Film] Focus Features.

42

Jane Eyre (2011) Directed by Cary Fukunaga [Film]. Worldwide: Focus Features.

43

Conclusion

An analysis into the dress appearing in Jane Eyre the 1847 novel and 2011 film adaptation

concludes that both versions include elements of accurate 1830s-1840s women’s dress. Both

the film and the novel use women’s dress to communicate key ideas making up the narrative.

Both also use dress to convey the difference between characters, in particular the contrast

between Jane Eyre and the higher-class characters.

When comparing women’s dress described in the novel and in the film, it is clear the original

dress described has been changed to appear on screen. Although dress details have been

altered, the essential style and intentions in the novel have been maintained ‘The character

doesn’t have to be exact, but you don’t want them to be unrecognizable. It’s about achieving

the spirit of the character, I think’ detail’ (O’Connor 2012). It is clear designers used the

novel by referencing and adapting original information to create costumes featuring many of

the same elements. The costume designer Michael O’Connor says ‘Inspiration came firstly

from Charlotte Bronte’s novel’ (O’Connor 2012).

44

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LAVER, J. (1956) Costume. London: B.T Batsford Ltd.

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MOORE, D.L. (1971) Fashion Through Fashion Plates. West Sussex: Littlehampton Book

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MY DAILY (2012) Jane Eyre: Behind the scenes with the costume department. [Online]

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eyre. [Accessed 22 March 2012].

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