Below, we've rounded up every fascinating fact about Bridgerton's jaw-dropping fashion moments that is sure to inspire a weekend re-watch.
Bridgerton featured approximately 7,500 costume pieces
In conversation with BAZAAR U.S., Mirojnick revealed that there were around 7,500 individual costume pieces rather than full outfits, such as overlays that combine to make one dress or an outerwear piece, saying:
“Basically, all together, inclusive of our principal wardrobe, there were costume pieces equaling 7,500,” Mirojnick revealed. “It's kind of like cooking,” she explains. “You need to have the ingredients to be able to make the costume that's necessary.”
She also believes that there were around one thousand pieces that were reserved for the principal characters alone—including items like capes, undergarments, etc.—and leading lady Daphne Bridgerton, played by Phoebe Dynevor, had a total of 104 costume changes alone.
Mirojnick wanted to put a modern twist on Regency attire
Bridgerton's historical accuracy is somewhat lacking—bar Queen Charlotte, of course—it's easy to see how this was done on purpose. If the historic renditions of modern songs wasn't a give away, then the costumes may have been.
In a contemporary interpretation of what people would have been wearing at the time, Mirojnick chose to make the Featherington family wear floral prints in bright pinks, yellows, and oranges, considering the family is new to wealth and status.
Additionally, the heavy jewel embellishments on the gowns are more extravagant than they would have been in the actual time period.
Mirojnick wanted to overlay the look of the Regency era “with a bit of a modern sensibility, make it aspirational, intriguing, and with somewhat of a layer that would actually be very imaginative,” she told BAZAAR U.S.
"We have increased the amount of glitter, increased the amount of colour, increased the over embellishing. We have done things that actually can relate a little bit more to today's point of view.”
Each family had their own modern colour palette when it came to costumes
While the opulent costuming was a visual feast, some may have noticed certain colour themes sprinkled throughout the show.
In conversation with The Zoe Report, Mirojnick revealed that the colour palette, or bible as she calls it, was based off a current Irish artist's work.
"We created a palette that was inspired by Genieve Figgiss paintings," Mirojnick explained. "That colour palette was created for our entire world. It was fresh and vibrant. It was necessary to establish a difference between the Bridgerton and the Featheringtons."
"The palette for the Bridgertons was meant to feel romantic and refined. The Featheringtons, being new to the town and not from the same societal background, were always described in the text as wearing acidic colours." She explains. "We chose a palette to incorporate a Versace-esque feeling. We felt that was a perfect way to create the Featherington characters."
"A historical colour theme was not relevant for creating our world," Mirojnick went onto explain. "The palette became the first step in creating our colour bible, then we went from there."
"For example, the colour Wedgwood blue became our symbol for the Bridgertons—we used it not because it was historical, but it fit into our story."
Daphne's colour palette changed as she matured after marriage
Aside from the societal differences between the families of Bridgerton, there was even more colour play to define each character and their growth throughout the season.
"As Daphne becomes the duchess, her innocence fades and evolves," Mirojnick explained. Daphne Bridgerton, whose romance with the Duke of Hastings was the main plot point of the season, experienced a personal change which Mirojnick wanted to convey through her costuming.
"We took her palette into a deeper and duskier tonality. It was subtle, but you feel that Daphne has become a woman."
The corsets may have barely been seen but they were oh-so-important
Creating the iconic body-hugging, oxygen depleting undergarments was famous corset maker, Mr. Pearl. And while the show's corsets were hardly a main character, they played a vital role in how the costumes sat on each actress.
“[There are] no two bodies that are alike. And so if there is a bosom or a shape, even at the top part of the body that has to be adjusted for the costume, he knows how to create that structure to be able to give you that,” Mirojnick said of Mr. Pearl’s style unique.
“The gowns would not fall over the body if there was no structure underneath that.”
With a cheeky homage to the discomfort of corsets at the time, there was emphasis made on how painful they were to wear. And unfortunately, every female actress was made to wear one for authenticity.
“I don't think comfort comes into the conversation,” Mirojnick revealed. “We try to make it as comfortable as possible, but it isn't as comfortable as wearing a sports bra—no how, no way.”
To make sure their cast were comfortable, half corsets were used, which end at the top of the ribs, rather than full-body corsets, which travel down from the waist for more restriction.
Said corsets not only helped with the dress' silhouette, but with ensuring one historical trend was achieved.
“And so the corsets were made so that there is a push-up and a blossoming effect on top of the top of the neck line,” Mirojnick said.
Thankfully, the actors quickly got used to wearing the undergarments. “But as an end result, they wore it with as much grace as I've ever seen. They were, I think, far more comfortable than they ever thought they'd be.”
Bridgerton’s jaw-dropping jewellery collection was sourced from around the world
Sourced from jewellery dealers in New York, Italy and the United Kingdom, Bridgerton's show-stopping jewels were highly sought-after, and real, pieces.
Joining Mirojnick and her team was artisan and jewellery designer, Lorenzo Mancianti, who helped create pieces for the show.
As for the jaw-dropping tiaras, they were sourced in Italy and the U.K., with the principals’ tiaras coming from the Swarovski Archive.
“I've been doing this a long time and I never [saw something] like this,” Mirojnick revealed. “I guess it goes back to the days of Ben Hur and Cleopatra and those biblical epics, but now we're in Regency England and the numbers are just as large.”
