"The costumes in this are absolutely beautiful." "As a period, it's pretty wonderful." "All the tailoring is very, very flattering." "This is my first bonnet and corset, so I'm very, very happy to be in this... headgear. (LAUGHS)" "Everyone comes on set and they go up to people and say," ""That's an amazing colour!"" "Then they feel it." "So there's a lot of pleasure in the texture and the colour of the clothes." "I normally hate wearing this kind of clothes." "I feel really self-conscious." "But Ros's stuff is amazing." "Jim and George have very strong ideas about wanting this to look like an oil painting and not like a colour pastel or a beautiful engraving with very faint watercolour wash." "So I started off with the idea that this was a Georgian oil painting using really strong Georgian colours." "They wanted to enhance the emotional depth of the characters by choosing strong colours and having quite a strong palette." "This was my idea for Emma's colours." "In fact, this is the colour palette I've almost exactly used for her." "And we made a hat very similar to this, because what we wanted to do was to have Emma in hats, because she should, in her position in society, go out with a hat on." "But I didn't want a very obscuring bonnet, so what we did do was find wide-brimmed straws and tie them on securely or put lovely ribbons round them." "ROMALA GARAI:" "Emma's an interesting heroine, because she has the highest social status of any of Austen's heroines." "She doesn't have to marry, she's independently wealthy and her wealth is on display in her costumes." "So, you can see my little watch here." "She usually - in the scenes where we're shooting at Hartfield, at her home - has something to demarcate her as lady of the house, so even though she's this young woman at the end of girlhood," "she is mistress of the house." "This coat was copied from one in the museum in Kyoto." "This was the red I wanted and we dyed this as well, to get it exactly right." "We didn't want it to look pillar-boxy." "We just found this perfect colour for her." "This is her ball dress, which she wears to the ball at the Crown which was layers and layers of different coloured fabric to get this sort of shimmery effect, cos one of the things we didn't want to do was to have sort of plain, flat pastels." "And by doing layers of fabric over one another, you get a much more interesting effect when it's lit." "Here was Mr Knightley and this is Loseley, where we actually filmed, so this was his house that we used." "Obviously they changed the set, but I just used the idea of this nice, wooden panelling and the library and so on." "And here's a man with his gamekeeper and this is Jonny and this is just an image of a gentleman, really, um, living in his world." "And these greens, and this blue, these were his colours that I was using." "I just said, "Oh, I like a bit of green," ""I like greens and blues, I look like an idiot in yellow,"" "stuff like that." "And she paid attention to that." "Then we get together and we have a fitting and you work out what shapes work on you and stuff." "Listen to me, I really sound like I know what I'm talking about(!" ")" "What shapes and templates?" "I can say words like "templates" and "shapes" and "textures," yes." "These are Jonny's coats here." "Careful, it's very messy." "And this is his..." "Actually, he's wearing his dark green one." "But this is one of the ones I had made for him and I said I want it to be the colour of the Atlantic when it's looking a bit stormy." "And they dyed it for me brilliantly, exactly right." "And it does just look great on him." "He's the master of the house, but he is still quite country-fied." "He also likes to walk and ride horses a lot, so we didn't want anything too flowery and too, you know, too extravagant." "So, most of my stuff is a lot more sombre than this and a lot more - even though it's the tail coats - you could see someone wearing it every day and living in it." "I've usually got riding boots on and, you know, all that stuff." "Stuff you can march around in." "When he gets married, he's got this waistcoat and then a beautiful dark blue coat, which is actually waiting to be worn tomorrow." "A not dissimilar colour to that, so this will be like this, which looks rather good." "This is one of my nicer outfits, yeah?" "I could see myself, er, gambling in this." "(LAUGHS)" "Who is that young woman?" "Wait!" "That is Harriet Smith." "Harriet doesn't have too many clothes and they're not up to Emma's standard at all." "She initially starts off wearing things that have a lot of blue in them, or green and things that are kind of more natural colours." "Harriet starts to morph into a kind of image of Emma and she adopts some of my colour choices, in a way showing that she starts to imitate her, or Emma starts to manipulate her imitation." "I remember when we first started trying things on, there were a lot of organic colours, kind of crumpled form." "And then we headed to something much more, kind of, horrible." "I just had a sense that he should be quite louche and he should be quite garish." "I think the idea is he doesn't have a huge amount of taste or class which is so much fun." "This man here is a clergyman, riding, on horseback." "He's hunting." "And this, again, this is a clergyman." "And I quite like this image, which is quite fashion-y, but a little bit foolish and self-conscious." "Funnily enough, Blake Ritson, who plays Mr Elton, has this marvellous spiky hair and I think it's actually very serendipitously turned out a bit like that." "You see me very, kind of, black and white and sombre, and then as I become more and more infatuated with Emma, suddenly my outfits become more of a peacock hue and my hair gets bigger and bigger and more and more eccentric." "This is a really, really saucy outfit, for Miss Bates." "This is a wedding - she's going to a wedding in this." "Can you imagine?" "So her everyday gear, as you might imagine, in comparison to this - there's a sadness about it." "And I have two dresses." "They're exactly the same, but one is not faded and one is faded." "She's had the same dress for 15 years." "It's beautiful." "They made the exact same and bleached it down, so it looks like it's just been over-washed." "Here's Miss Bates." "This is the two dresses." "You can see quite clearly." "So, this is the one..." "I found this fabric in Shepherd's Bush and then we just dipped it down, cos this was too cream, so we dipped it down." "And then we made this to my design." "And then this is the one she's worn all the time, which we then bleached out and made look worn and old and as though it's been in the sun so much, it's got faded and faded and faded on the sleeves here." "This material, probably removed from a sofa." "These were the arms. (LAUGHS)" "It's attached underneath here." "We've got all attachings under here, so it unflaps there." "And underneath is quite a few layers." "I have a shift, which is like a sort of under-petticoat, and then a corset on top of that, which are all bespoke." "We've all got corsets that have been made for us." "And then a bum pad, which is kind of like one of those bags where you..." "A man bag." "But it's there." "And then we have stockings and some rather attractive - for me - orthopaedic boots." "Someone said that I look like..." "Do you remember those girls, those little ceramic things that you put a penny in the top of their head?" "Well, they thought those boots looked a bit like that, which has helped me in my character." "I'm the sort of character that someone would want to put a penny in the head as an act of pity." "Frank Churchill - the part I'm playing - has spent a lot of time in London, so he's quite a flamboyant character, quite a show-off, so we decided to go with the idea of quite contrasting, quite bold colours" "and wear two waistcoats." "So, it's those sort of details which sort of help the actor and give a sense of mood to the piece, an individuality, I think, to everyone." "This is a picture of Mick Jagger and this is John Keats." "It is amazing, the sort of glamorous, romantic image we have here." "The slightly edgy and dangerous, which is how Frank appears, arriving in Hartfield from another world." "All the gents at the time had this kind of 1800s, 19th-century version of fluffy dice in a car, I suppose." "This is a watch." "This is..." "The watch is tucked inside, but this is what you would have coming down from the watch." "It's an accessory, a pure fashion accessory." "This is Jane Fairfax and this is almost exactly how I did her." "We wanted the idea - this was even almost before she was cast - of somebody who was passionate and glamorous and actually had quite nice clothes, because she'd been brought up by a wealthy family and, although she was coming back and was going to have to become a governess," "she didn't have governess things." "So this was this beautiful Romney painting that I found, which I thought reflected the kind of feeling that we would have behind her clothes." "Ros's idea was kind of the idea that, perhaps that she was like this guy and had a storm brewing inside her." "She's hiding a lot of secrets." "Ros did that with, I think, every character." "She wanted to bring a little bit of nature into the characters and that's the idea with Jane, I think, that she's fit to burst." "One of the quite interesting things about wearing clothes from this period is that you often think of them as being almost like a sort of fantasy of girlishness, because they had this high waistline here and they're often quite floaty and free looking," "but we are wearing corsets, which are great, because they give you this posture, but they're more restrictive than you might imagine." "It wasn't meant to be sexy romps, so we didn't go for cleavages or huge up-thrustings of anything." "The idea was that it should look just like real people set very much in their society, with all different echelons of society, wearing clothes that were interesting and attractive, but that could still be appreciated by the modern eye," "whilst remaining true to early 19th century." "You can look at paintings in this room and think, "You know what, that woman's got quite a funny hat on." ""It's a funny hat." "And particularly with her face, she looks almost like a bloke." ""And yet she's got quite a nice cleavage, but she's got a funny hat on."" "Why not look at life with that kind of quizzical perception and say," ""This is brilliant, but quite odd."?" "Costume is really important, but it's an important collaboration." "You don't dictate what you wear, so I think it's an important thing for actors in terms of building something with other people." "I think when you work with someone like Ros, the process of choosing and electing what a character wears is a way of getting to know each other as individuals and ending up with a consensus about who that character is," "so it's not just important for your personal relationship with the character, but for your working relationship with the people that you collaborate with."