True to Time: Period Piece Beauty
Period dramas have surged in popularity, captivating audiences with their grand storytelling. Part of their appeal lies in the attention to detail, particularly in recreating the fashion and atmosphere of a given era. Historical accuracy in period dramas extends beyond costuming. It also brings into factor hairstyling and makeup, both of which can significantly impact the authenticity of a production. While shows and films like Bridgerton, Pride and Prejudice, Emma, and Marie Antoinette are known for their artistic interpretations, some choices have raised eyebrows among viewers who notice a few misplacements. Such minor changes may seem like nothing at first glance, but they contribute to how immersed audiences feel in the historical world—or how quickly they're reminded that they are simply watching a modern adaptation.
One of the main talking points amongst period drama enthusiasts has been the evolution of men’s hairstyling, particularly regarding sideburns. In Pride and Prejudice (2005), Matthew Macfadyen’s Mr. Darcy and other male characters wear noticeably shorter, more subdued sideburns compared to earlier adaptations. While this choice may have been made to soften the look of the characters for modern audiences, it is a stark contrast to historical norms of the early 19th century, where prominent sideburns were a key feature of men’s grooming.
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Similarly, adaptations of Emma, such as the 2009 BBC version, feature male leads with thick, prominent sideburns, adding a layer of period authenticity. However, more recent productions like Bridgerton have taken a different approach. In season one, many male characters wear full, pronounced sideburns, adhering to Regency-era grooming standards. Anthony Bridgerton, portrayed by Jonathan Bailey, and Simon Bassett (Regé-Jean Page) exemplify this style. Yet, in season two, Anthony’s sideburns are significantly trimmed, giving him a cleaner, more modern look. This change did not go unnoticed, as fans took to social media to express their opinions, with some praising the updated style while others criticized the departure from historical accuracy. While some viewers appreciate a more contemporary interpretation, others argue that such adjustments take away from the immersion of the era, forcing productions to make deliberate choices about how much historical accuracy to retain versus modern appeal. Some viewers also attested this to possible personal development of the character, as we see in Anthony’s character becoming mature, and taking charge of his role in the family. This trend of minimal facial hair can also be seen in films like Sofia Coppola’s Marie Antoinette (2006), where male characters appear with more refined and sometimes absent sideburns despite the 18th-century preference for elaborate facial hair.
While these choices may have enhanced the actors' facial features or aligned with contemporary beauty standards, they undeniably chip away at the historical authenticity. Some viewers find these subtle modernizations jarring, as the modernizations undermine the atmosphere established in previous adaptations. This raises the question, what role does historical authenticity play in the success of period drama encapsulating their target period?
Another aspect of beauty evolution in period dramas is the makeup differences between female leads. Regency-era makeup was faint, relying primarily on naturally flushed cheeks and soft, powdered skin. However, season one's Daphne Bridgerton (Phoebe Dynevor) incorporated modern beauty elements that were noticeable to the trained eye. Her complexion was dewy rather than matte, and her eyes featured slight contouring and definition that would not have been common in the early 1800s.
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Comparatively, Francesca Bridgerton’s introduction in season three presents an even more modernized approach. Francesca’s makeup appears heavier than Daphne’s, with a more defined brow shape, structured contour, and enhanced lip color. Not to say that Francesca did not look good; however, for some, this makeup detracts from the feeling of the era the characters are from. As they are supposedly in the regency era, this contrast stands out because makeup during that era was typically minimal and natural-looking. Women favored a more subtle approach, often using light washes of rouge on the cheeks and lips to create a healthy, flushed appearance. The historically accurate trend also appears in Pride and Prejudice (2005). Keira Knightley’s Elizabeth Bennet wears a very natural, bare-faced look, closely aligning with historical norms. Her minimal makeup enhances her features without appearing overly modern, allowing her portrayal to feel more authentic. Modern, in this case, signifying contemporary beauty trends emphasizing sharp definition, heavier application, and sculpted features. However, in Emma (2020), Anya Taylor-Joy's portrayal of Emma Woodhouse includes noticeable blush placement, sculpted brows, and glossy lips that subtly break from the time's beauty standards. Meanwhile, in Marie Antoinette, Kirsten Dunst’s titular character wears a mix of period-appropriate, white-powdered makeup but also embraces modernized applications, such as a pink lip stain that enhances her natural look beyond historical accuracy.
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The choice to modify historically accurate beauty trends in period dramas is a deliberate one. The creators of films and shows like the media mentioned have made it clear that their goal is not strict period accuracy but rather a stylized interpretation of the era that resonates with today’s viewers. While this approach allows for creative freedom and accessibility, it also risks breaking audience immersion. When makeup and hairstyling noticeably clash with period fashion, it can pull viewers out of the historical setting and remind them that they are, in fact, watching a modern adaptation.
Whether these changes enhance or hinder the viewing experience ultimately depends on audiences' expectations. Some viewers appreciate the subtle modernizations, finding them more aesthetically pleasing and relatable. Others, however, yearn for a more historically grounded portrayal, where elements like sideburns and natural makeup align more closely with the period. The evolution of beauty in period dramas reflects the ongoing tension between historical fidelity and contemporary appeal. While the trimmed sideburns and enhanced makeup may suit beauty standards today, they also raise questions about how much modernization is too much. As these productions continue, it will be interesting to see whether future adaptations lean further into contemporary aesthetics or attempt to reclaim more of the historical accuracy that some viewers crave.
Strike Out,
Writer: Maria Carrillo
Editor: Emily Montarroyos
Graphic Designer: Ryan Hanak
Tallahassee