I have wanted to do a deep-dive review of Daniel Deronda (2002) because it’s an interesting story that’s well acted and has AMAZE-BALLS early 1870s costumes. But there are so many of those amaze-balls costumes that I’ve been daunted! I finally decided to get off my butt and do this, but the only way I’m going to be able to do it is to split things up into each of the four episodes, because there are Just That Many Costumes and they are almost all That Fabulous.
Here we are at the last episode! Spoiler alert — some of the costumes in this episode give big hints to plot points.
Here’s a photo of cute young Hugh Dancy, just since I haven’t included many pics of the boys:
I just saw him in modern-set Late Night (with Mindy Kaling and Emma Thompson), which was weird!
Another riding habit (I assume) for Gwendolen? She’s writing a letter in her room, but she could have come from riding.
Yep, Gwendolen wears that purple ensemble again. Here’s a promo still (note the butterfly in her hair).
On screen. LOVE THAT HAIR. Note the way the curls come forward on the one side.
Hair from the back.
She’s got lace undersleeves, and then a split up the back of the dress sleeves, which are edged with ruffled lace (as is the neckline).
They do a lot of non-matching bodices and skirts, which I don’t believe was much of a thing in this era (beyond white blouses with colored skirts), but I’m giving it a pass because it’s all so beautifully made and coordinated.
The only full shots of the outfit in this scene are from far away.
Barbara Hershey turns up as the aging, reclusive Contessa Maria Alcharisi. She is ALL GOTH, ALL THE TIME.
Her dress mostly looks black on screen, but you see occasionally flashes where you can discern that it’s actually red. I had to really lighten these images so you could see them. She’s going full veil.
This outfit only flashes by on screen.
Luckily it was included in promo pics. It’s a summery, oceanside scene, so the color combo really works well.
Cute parasol! Love the hat shape!
Note the lace, self-fabric ruching, and again with the undersleeves. I love how those split sleeves/undersleeves go from the 1840s through the 1870s (with variations).
I think this is a teagown, at home lounging kind of thing.
Boating. Sadly hard to grab pics of this ensemble. I LOVE IT (the solid white bodice with the purple plaid skirt! The dark purple trim on the cuffs and bodice hemline!), except suddenly Gwendolen is Getting Her Tits Out and I’m unclear why.
Back with Mirah’s middle-class adoptive family, who are firmly in the 1860s.
Mirah is still in her dark, striped dress. zzzzzzz (but it suits the character/plot, just, zzzz from a “pretty dresses” perspective).
Gwendolen in mourning. This looks like a polonaise, where the overdress is cut in one piece in terms of bodice/skirt. I love the sheer black net chemisette.
Black ribbon around the hair. This is a great technique for hiding the join between real hair and a hairpiece!
Mirah’s wedding dress. Hard to see much it at all, which is too bad, because it looks like it has some interesting details (the ruching around the neckline, the ruffles on the skirt back).
Onlookers at the wedding — there’s Boring Redhead on the left, and I think the daughters of Mirah’s adoptive family.
I had to look up Woman Who Is a Supporting Character in Everything, and it’s Georgie Glen, who has been in Mrs Brown, Berkeley Square, Shakespeare in Love, Wives and Daughters, Rome, Amazing Grace, Easy Virtue, Desperate Romantics, Les Misérables (the musical one), The Collection, Les Misérables again, Call the Midwife, and a million other things. Oh – she’s only in the background, but I like the trimming on her dress!
Gwendolen, happy at last, in a sheer white dress with yellow sash…
Possibly over a yellow underskirt?
Mirah and Daniel, happy at last, and that’s all we see of Mirah’s dress.
Go watch Daniel Deronda! You’ll be glad you did!