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The transformation of ‘Downton Abbey’s’ Lady Edith

By Ruth La Ferla
New York Times
  • http://media.charlotteobserver.com/smedia/2014/02/05/11/54/1oOa3.Em.138.jpeg|316
    NICK BRIGGS - NYT
    Laura Carmichael in Season 4 of the PBS television series Downton Abbey, as a more stylish Lady Edith Crawley. A major plot shift with Carmichael's character has her evolving from dowdy to provocative.
  • http://media.charlotteobserver.com/smedia/2014/02/05/17/28/1uuzql.Em.138.jpeg|210
    NICK BRIGGS - NYT
    An undated handout photo of Michelle Dockery, Elizabeth McGovern And Laura Carmichael, showing her character Lady Edith Crawley's dowdier look, in the PBS television series Downton Abbey. A major plot shift with Carmichael's character has her evolving from dowdy to provocative. .

Poor, sad Lady Edith. Early on in “Downton Abbey,” the PBS family saga (9 p.m. Sunday), it seemed that the much-overlooked, undervalued middle sister of the Crawley clan had been dealt a rough hand.

Her assertive nose, wan manner and decorously dowdy wardrobe had apparently rendered her marriage prospects slim to nil. Be kind to her because she has so few advantages, Lady Cora, her mother, urges Edith’s sister Mary. To which Mary peevishly replies that Edith has none at all.

That was then.

This season has introduced a major shift in plot. The bereaved Lady Mary sheds her widow’s weeds to mind the estate and field suitors, and Edith whisks herself off to a new life in London – and a shift in style. As the time frame moves to the racier 1920s, that change is expressed vividly through Lady Edith, who casts off her puff-pastry fashion persona to emerge as a maverick with real flair.

As Edith is sharply aware, there can be an upside to having no advantages. You are free to invent a few of your own.

Edith (played by the British actress Laura Carmichael) has embarked on a journey of self-creation, embracing the provocative styles of the day and discovering the liberating properties of diaphanous frocks, shoulder-baring necklines and wispy undies that free up her psyche as well as her frame.

Caroline McCall, the show’s costume designer, equated Edith’s progressive new look with the arc of her story. Her clothes, inspired by the billowy, groundbreaking designs of Paul Poiret and the illustrations of George Barbier, reflect not just the subversive feel of her era, but also the rebel long dormant in Edith herself. “She’s decided that she’s a new independent woman of the early ’20s, so her wardrobe has changed to reflect all that,” McCall told Style.com.

That wardrobe, along with her artfully marcelled hair and exotic jewelry, sets her apart as a fashion adventuress.

“We love to watch an unconventional beauty strike out and find her fashion mojo, and Lady Edith has the potential to do just that,” said Simon Doonan, the Barneys executive who detailed the folkways of the contemporary fashionistas in his recent memoir, “The Asylum: A Collage of Couture Reminiscences … and Hysteria.” Her flirtation with Bloomsbury bohemianism “makes her more interesting,” Doonan added, “than somebody who is conventionally pretty.”

Stylist Penny Lovell has dressed Carmichael for the red carpet. “It’s so interesting to see Edith become stronger and make some bolder wardrobe choices,” she said. “She’s a character who can will herself into being beautiful, and people will always find that interesting.”

As the plot becomes more densely layered, Mary hardens, coolly remote in lavender and black, and Edith warms, finding the moxie to crusade for the women’s vote; write a column for The Sketch, a society rag; and, more brazenly still, to embark on a love affair with its married publisher.

And it’s Edith who ditches her stays for a looser, more raffish look, emerging as she gains in confidence as a budding style savant who flirts brashly with the cutting edge. More colorful and softer than Lady Mary, “she is currently shifting,” Doonan noted, “from an Arts and Crafts-y intellectual look to something more alluring and feminine reflective of her emotional and sexual awakening.”

Her rare combination of breeding and brass surfaces in her choice this season of fluid, drop-waist frocks in arresting tones of burnt orange and green. It emerges at an intimate dinner at the Criterion, the London supper club, in a gold-embroidered viridian gown, her bare back on view as she leans in to give her lover a kiss.

Her daring is something she shares with latter-day fashion darlings Isabella Blow, Anna Piaggi and Diana Vreeland, who made the most of features that were unconventional (and ungainly) by cultivating a memorably stylized look.

Small wonder, then, that dedicated “Downton” aficionados, a handful of designers among them, have conflated the character with the actress who brings her to life. “From looking at Edith on the show, you can visualize Laura in gown,” Lovell said. “Laura is being noticed more because of what’s going on the show.”

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