Officials Symbolist Poe Little Discourage Shirt
Each of the film’s primary characters—from Will’s father and mother (played by David Wilmot and Emily Watson) to Agnes’s brother (Joe Alwyn) and the three youngest Shakespeares, which include twins Judith and Hamnet (Olivia Lynes and Jacobi Jupe)—had lovingly crafted wardrobes. But Turzanska’s talent for character-driven storytelling is most evident in the looks worn by Will and Agnes, which evolve as the young lovers mature into a married couple, parents, and then relative strangers following their son’s death. For the headstrong, maternal Agnes, who is spiritually caught between the modern world and a more ancient, primal place, Turzanska used a palette of sanguine, rust, russet, crimson, and prune, inspired by the different stages of blood—from freshly oxidized to aged, clotted, and scabbed. The garments themselves are voluminous: with cartridge-pleated skirts or dresses paired with smocks, underskirts, and bodices that are layered or subtracted in number to mirror Agnes’ state of mind. All were constructed from organic fabrics, including bark cloth and an array of linens, and adorned with touches like tiny embroidered dashes and weaving patterns that mimic those made by tree-eating bugs.Officials Symbolist Poe Little Discourage Shirt
“I didn’t want to overpower her with details, because ultimately she’s very kind of punk and very down-to-earth,” Turzanska says. “But from that very, very first bodice—which is bark cloth, the fiber underneath the tree—there was a bit of uneven, organic embroidery through her garments, especially through her bodices. There’s always something kind of weaving through.” Agnes is also, Turzanska adds, “mostly wearing plants, starting with the literal [bark cloth] and then flax or linens with those little embroideries. So she’s very connected to nature and looks almost like she came out of it.” Where textures, colors, and silhouettes evoking the natural world define Agnes’s garments—which, Turzanska notes, are “worn without any understructure,” as if the character is willfully disregarding the sartorial rules and mores of the period—Will’s belong very much to the world of man. They also borrow much more literally from the Elizabethan era and details from the Bard’s real life, as well as drawing from O’Farrell’s portrayal of Will’s father, a once-successful glove maker, as a violently embittered man. “I was imagining it was coming from the father, those little scratches,” Turzanska says, explaining that she pictured Will’s father, who wears a claw-like toothpick around his neck, physically picking away at his son during the film’s early scenes. “Even the quilting on his doublet—it almost looks like when you scratch the skin without breaking it, and there’s this differentiation of color.”
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