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=== Costume design === [[File:Sense and Sensibility Thompson dress.jpg|thumb|upright|Thompson's dress for her character Elinor Dashwood]] According to Austen scholar Linda Troost, the costumes used in ''Sense and Sensibility'' helped emphasise the class and status of the various characters, particularly among the Dashwoods.{{sfn|Troost|2007|p=83}} They were created by [[Jenny Beavan]] and [[John Bright (costume designer)|John Bright]], a team of designers best known for [[Merchant Ivory]] films who began working together in 1984.{{sfn|Nadoolman Landis|2012}}<ref>{{Cite news|title=Why we should love and leave the world of Merchant Ivory |work=[[The Daily Telegraph]] |first=David |last=Gritten |date=25 March 2006 |id = {{ProQuest|321309053}}}} {{Subscription required}}</ref> The two attempted to create accurate period dress,{{sfn|Troost|2007|p=83}} and featured the "fuller, classical look and colours of the [[1795β1820 in Western fashion|late 18th century]]."<ref>{{Cite news|title=Clothes make the movies: 'Fashion in Film' showcases outstanding period costumes |first=Kathaleen |last=Roberts |work=[[Albuquerque Journal]] |date=12 October 2008 |id = {{ProQuest|324476672}}}} {{Subscription required}}</ref> They found inspiration in the works of the English artists [[Thomas Rowlandson]], John Hopper, and [[George Romney (painter)|George Romney]], and also reviewed [[fashion plate]]s stored in the [[Victoria and Albert Museum]].<ref name=LATimesFashion /> The main costumes and hats were manufactured at Cosprop, a London-based costumer company.<ref name=LATimesFashion /> To achieve the tightly wound curls fashionably inspired by [[Greek art]], some of the actresses wore wigs while others employed heated hair twists and slept in pin curls. Fanny, the snobbiest of the characters, possesses the tightest of curls but has less of a Greek silhouette, a reflection of her wealth and silliness.<ref name=LATimesFashion>{{Cite news|title=Fashion / Screen style |work=[[Los Angeles Times]] |first=Betty |last=Goodwin |date=15 December 1995 |id = {{ProQuest|293222193}}}} {{Subscription required}}</ref> Beavan stated that Fanny and Mrs. Jennings "couldn't quite give up the frills," and instead draped themselves in lace, fur, feathers, jewellery, and rich fabrics.<ref name=LATimesFashion /> Conversely, sensible Elinor opts for simpler accessories, such as a long gold chain and a straw hat.<ref name=LATimesFashion /> Fanny's shallow personality is also reflected in "flashy, colourful" dresses,{{sfn|Troost|2007|p=83}} while Edward's buttoned-up appearance represents his "repressed" personality, with little visible skin.{{sfn|Gay|2003|pp=97β98}} Each of the 100 extras used in the London ballroom scene, depicting "soldiers and lawyers to [[fop]]s and [[dowager]]s," don visually distinct costumes.{{sfn|Troost|2007|p=83}}{{sfn|Thompson|1995|p=258}} For Brandon's costumes, Beavan and Bright consulted with Thompson and Lee and decided to have him project an image of "experienced and dependable masculinity."{{sfn|Gay|2003|pp=97β98}} Brandon is first seen in black, but later he wears sporting gear in the form of corduroy jackets and shirtsleeves. His rescue of Marianne has him transforming into the "romantic [[Byronic hero]]", sporting an unbuttoned shirt and loose cravat. In conjunction with his tragic backstory, Brandon's "flattering" costumes help his appeal to the audience.{{sfn|Gay|2003|p=98}} Beavan and Bright's work on the film earned them a nomination for [[Academy Award for Best Costume Design|Best Costume Design]] at the [[68th Academy Awards]].<ref>{{cite news|title=The 68th Academy Award nominations |work=[[Los Angeles Times]] |date=14 February 1996 |id = {{ProQuest|293206028}}}} {{Subscription required}}</ref> {{clear}}
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