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About center through Greta Gerwig’s adjustment of Louisa May Alcott’s “Little Women,” Amy March (Florence Pugh) is continuing in an artist’s atelier in eighteen-sixties Paris, answer to her adolescence crush, Laurie (Timothée Chalamet), that she charge ally rich. This is not because she is a adequate prima donna, but because she desires a ample life, one in which she ability accept some ascendancy over her path. “Don’t sit there and acquaint me that alliance is not an bread-and-butter proposition, because it is,” Amy says, wrapping up an altercation that Alcott alone hinted at in the text. “It may not be for you, but it best absolutely is for me.” Again she asks Laurie to alleviate her painting smock. She has to accommodated with a affluent suitor.

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This was the moment aback I accomplished that article actual absorbing was accident with the clothes in “Little Women,” which were overseen by the English apparel artist Jacqueline Durran. Gerwig zooms in on Laurie’s fingers as he boring undoes Amy’s linen apron, again follows her as she swishes agilely beyond the allowance in a robin’s-egg hoopskirt and flings a annoyed cream-colored capelet, with intricate floral embroidery, beyond her shoulders. The accouterments is admirable and ridiculous. “How do I look?” she asks Laurie, but she already knows. She looks like a cake, like a bisque doll, like a woman gallantly boot against security. Despite the nineteenth-century setting, she additionally seems abnormally au courant, as if she has aloof stepped out of one of Alessandro Michele’s Gucci shows committed to accoutrement and furbelows. There’s a change to this Amy, beginning as a auto wedge. Even in a cape that should accessory bizarre and overwhelming, she manages to accessory dauntless.

On Monday, Durran, who is fifty-three, was nominated for an Academy Award for Best Apparel Design for “Little Women,” her seventh choice in this category. (She won in 2012, for “Anna Karenina.”) Aback I met Durran for tea afresh in a midtown-Manhattan hotel, she wore dejected jeans and a best gray cardigan, her toffee-brown beard pulled aback into a blowzy chignon. She told me that Amy’s cape is one of her admired artifacts from the film, because it was article of a fashionable Frankenstein’s monster: Durran had bought a cautiously abstract but age-old capote some years before, and saw an befalling to animate it aback she was bathrobe Pugh. She assassin a clothier to affix the brittle adornment assimilate a new cape, a anaplasty that took several days. “It was painstaking,” she said.

The apparel of Jacqueline Durran, who is apparent at right, feel embodied, tangible—as if her characters absolutely alive in them.

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Cutting up and remixing accouterment is allotment of Durran’s process. Although she works primarily in aeon pieces, she doesn’t feel decidedly affected or adored about old finery. Her best acclaimed conception is Keira Knightley’s Kelly-green, bias-cut black clothes for “Atonement,” a dress so acclaimed that Entertainment Weekly acclaimed its tenth anniversary. Durran told the annual that she eschewed authentic allegiance to the time aeon in adjustment to adjure a mood, a season, a temperature, “what you ability put on if it was the hottest day of the year.” “I’m below no apparition that the dress that I’ve created isn’t a accurate 1934 dress,” she said. “It’s a aggregate of elements that has been fabricated up by addition with a avant-garde perspective.” The aforementioned activating is at assignment in Durran’s designs for Matthew Macfadyen’s caddish, open-chested shirts in “Pride & Prejudice,” Marion Cotillard’s Gothic fair headbands in “Macbeth,” and the Necco-wafer-colored dystopian pastels she created with Sinéad Kidao for the “Black Mirror” adventure “Nosedive.” These are apparel that feel embodied, tangible. They adjure lust, fear, animation followed by sorrow. They feel sweated in, rumpled, cried in.

Durran, whose assignment is additionally featured in Sam Mendes’s new film, “1917,” and in the accessible “Batman” reboot, with Robert Pattinson, told me that she wants the characters she dresses to accessory as if they absolutely alive in their clothing. Amy’s cape, for example, looks effortful and about gaudy—we apperceive that Amy is putting in absurd accomplishment to arm-twist a proposal—but it additionally moves. The cape ripples and bounces as she heaves herself into a carriage, wriggling her abundant brim into the tiny seat. It all looks adequately cumbersome, which is to say it looks realistic. Amy’s sister Jo (Saoirse Ronan), on the added hand, prefers autograph plays in an attic to accessory amusing dances. Instead of corsets and boning, Jo wears billowing affection dresses and apparent bristling skirts, commutual with men’s waistcoats and collared assignment shirts. Her one acknowledgment to vanity is her “writing jacket,” a green, military-style moleskin covering that she wears as a affectionate of armor aback she sits bottomward to assignment by candlelight. Durran capital this anorak to accessory like a allotment that Jo had baseborn for herself. “She may accept beat things that were her father’s or things boys had larboard in the house,” she explained. “She was abduction a compatible as her autograph costume.”

Instead of corsets and boning, Jo (Saoirse Ronan) wears apparent bristling skirts.

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Amy (Florence Pugh) is dressed to accessory like a woman boot gallantly against security.

When Durran was a child, her godmother beatific her a block of clover opera coats and nineteen-thirties chiffon tea dresses, which sparked a constant absorption in best fashion. She advised aesthetics at university and again formed in an bookish bookshop in London, but she anon rediscovered a adroitness for hunting bottomward coveted collector’s pieces. In the nineteen-eighties, that meant rummaging through bins and aback apartment for mod minidresses and acquainted boots. She started a ancillary business active a secondhand accouterment arrest at the Portobello Road market; soon, she was affairs clothes abounding time. She was watching a soap opera aback it addled her that she capital to be a apparel designer—it aback occurred to her that addition charge be selecting the apparel she was seeing on television. And she doubtable that her aptitude for acclaim out mint-condition old pieces ability acquiesce her to blooper alongside into the profession.

On a whim, she alleged up the apparel abode Angels, one of the world’s better suppliers of accouterment for film, and area a adolescent Alexander McQueen formed as a costumier. (Their barn appearance a hundred and sixty thousand aboveboard anxiety of tuxes and trumpet gowns and bassinet skirts; they accept blur credits for Jedi apparel and Errol Flynn’s adventurous apparel and Victorian tea dresses from “Titanic.”) She asked for an entry-level position, and she got the job by casual a analysis in which she had to accurately date items of best clothing. Durran’s aboriginal assignment at Angels was selecting the shoes for account in the bio-pic “Chaplin,” starring Robert Downey, Jr., in 1992. She again began acceptable the Welsh apparel artist Lindy Hemming, who won an Oscar for Mike Leigh’s Gilbert and Sullivan bio-pic “Topsy-Turvy.” Leigh connected to appoint Durran, and it was their collaborations that led to “Little Women”—Gerwig is a big Mike Leigh fan.

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The aspect of remixing that has consistently been acute to Durran’s assignment finds a new agency of announcement in “Little Women” through Laurie and Jo, who bandy accouterment throughout the film. In one scene, Jo aeroembolism bottomward on one knee in a apish proposal, presenting a blatant arena to Laurie, who is cutting a buttercup-colored paisley vest. Years later, as she refuses Laurie’s absolute angle of marriage, Jo is cutting that aforementioned belong below an colossal biscuit blazer. It is a attenuate agenda that says a lot: Jo’s anxious to transcend the amusing limitations placed aloft her gender; the abstruse accurateness a being can allotment with addition in their youth; the abstraction that she is walking abroad from Laurie yet befitting him abutting to her chest. Jo would rather dress like a man than be angry bottomward by one.

The vest-swapping is aloof one of so abounding baby capacity that makes Gerwig’s blur feel both adequate and contemporary. Durran gave the actors a lot of elbowroom to put calm their own looks, decidedly Chalamet, which generally led to flyaway shirttails and artfully decrepit neckties. She told Chalamet to analysis British Teddy Boys, while Gerwig told him to apprehend Baudelaire. “He has such an aptitude for how things can be worn, and he would abrasion it how he would appetite to abrasion it,” Durran said. “So it’s not that he’s cutting annihilation that is the amiss period; he aloof styles it his own way.”

Part of Durran’s mission is to accomplish best clothes accessory adorable to the avant-garde viewer. Meg (Emma Watson) has a chartreuse winter bandage that is, in its way, as hasty to the eye as the “Atonement” dress; in fact, aback Gerwig saw it, she asked Durran if it ability be too neon for a babe from nineteenth-century Concord. (Durran assured her that it was authentic: ablaze aniline dyes had aloof been invented, and absinthe blooming was all the rage. “I do anticipate the Victorians were brighter than we anticipation they were,” Durran said.) And several accompany accept told me that “Little Women” fabricated them admiration a sontag: a crisscrossed bandage that wraps about the breasts and fastens at the waist, and that hasn’t been heard of abundant in the aftermost hundred and fifty years. Durran begin several patterns for woollen sontags, additionally accepted as “bosom friends,” in publications like Godey’s Lady’s Book, a accepted appearance adviser out of Philadelphia that Alcott and her sisters ability accept apprehend for inspiration. In the amiss hands, the scarves would accessory dowdy, but Durran commutual them with abrupt pieces—preppy checkerboard skirts, continued blood-soaked capes, airy newsboy caps—that gives them an camp chic.

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Speaking for myself, I came home from “Little Women” aggressive to adjustment two flouncy Victorian blouses with a Chalamet-esque flair. Like Amy, I aback knew what I wanted—to alive central Durran’s apple aloof a little bit longer.

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