Ever since the new “Wuthering Heights” adaptation by Emerald Fennell was announced, it has been nothing short of controversial. The casting, the eroticism and the historically inaccurate style have all been criticised.
Published in 1846 by Emily Brontë under the pseudonym Ellis Bell, Wuthering Heights follows two generations: that of Catherine Earnshaw and Heathcliff, and then their children. Heathcliff is adopted by Mr Earnshaw and brought into his home, Wuthering Heights. The tumultuous (notably, sexless) relationship between Catherine and Heathcliff impacts everyone around them.
It is psychological, gloomy and depressing. It is not a surprise then that many movie adaptations have failed to capture it precisely. But Emerald Fennell, the director of the new “Wuthering Heights”, chose to present her own interpretation of the story, rather than merely replicate it.
As I sat in the cinema last week, I felt like I had no idea what to expect. I had seen clips online of mansions with blood-red floors, of unrealistically enlarged strawberries, and wondered how this was all going to fit into the plot.
I was also concerned about the erotic content, considering that this does not appear in the book whatsoever. However, I was pleasantly surprised. This movie was very artistic. Every scene felt like a painting.
I actually enjoyed the historically inaccurate, absurd elements, as they conveyed the experience of reading Wuthering Heights – that is, the bewilderment, the intensity and the passion. Maybe then this is what the previous movie adaptations have been missing. It can be constraining to keep too close to the original text. Innovative and creative interpretations give new meaning to older books.
Something that particularly caught my attention was Catherine’s costumes. They were more eye-catching because they were so historically inaccurate. Throughout the movie, her costumes become more and more ridiculous, as she goes from a life of poverty at Wuthering Heights to one of wealth and extravagance at Thrushcross Grange, her husband, Edgar’s mansion. Let’s take a closer look at some of her costumes and what they might mean.
The Milkmaid Style
Before leaving Wuthering Heights for Thrushcross Grange, Catherine’s costumes are reminiscent of the milkmaid style. She wears long, flowing dresses with puffy sleeves, square necklines, corsets and gingham print. The emphasis is on her poverty. But there is also something free about these costumes especially when we compare them to her later ones. Costume designer, Jacqueline Durran, characterised these costumes as “a nod to the period, a nod to contemporary fashion and also a nod to Old Hollywood.”
Moment of Transition
Catherine injures herself whilst spying on Edgar and has to stay with him at Thrushcross Grange to recover. When she returns, there are still traces of the milkmaid style in her costumes, but it is more refined. Instead of wearing a plain white blouse, Catherine wears one which is patterned with roses. The puffy sleeves are also slightly translucent now. Red, whereas previously contained to the corset, is now the colour of the skirt.
Actually, red is a colour that comes up a lot in Catherine’s costumes. What do you think this might mean? I think it foreshadows her death, that moment when the blood pours out from the lower part of her body, washing over the scene.
There are also some important details in this transformative costume. Catherine wears a gold heart-shaped necklace, and there are ribbons in her curled hair. These accessories symbolise that she is well on her way to being married. Romance is in the air! Or is it?
That Wedding Dress
I remember vividly when the photos of Margot Robbie in Catherine’s wedding dress emerged. Readers of Wuthering Heights everywhere were reeling. Here Robbie was in a modern-day and notably lacklustre wedding dress. None of the intricate details of a Georgian wedding dress were visible. It felt like a missed opportunity.
However, Wuthering Heights, at least in my opinion, exists in its own time and space. Although very much rooted in the concerns of the period, the seclusion of the characters from the rest of society, as well as the importance of their emotions in the plot, makes Wuthering Heights still relevant today. Durran notes that “Our dates are all confused in the sense that we’re not representing a moment in time at all – we’re just picking images or styles that we like for each character.”
So, does it really matter whether Catherine appears in a historically inaccurate wedding dress? I think the plainness of it actually reflects her inward despair over this marriage – she is not marrying the man she loves. Actually, her wedding dress is very similar to her funeral dress. Poor Edgar.
Getting Ridiculous?
Another controversial costume is the pink, opaque, gift-wrapped-looking gown that Catherine wears on her wedding night. This really shows the significance of her costumes, as her gown suggests that she sort of belongs to her husband now. Isolated from Wuthering Heights and Heathcliff, Catherine ceases to exist as an individual person anymore. Durran says that “It’s about Cathy being a gift on her wedding night, making herself a gift.” Her costumes become more abstract and strange at Thrushcross Grange, as she loses touch with her true self.
The Evil Stepmother
Although Catherine mostly wears white, especially after her marriage, she does occasionally wear some darker costumes. Particularly, she wears these in more dramatic scenes.
When she learns of Nelly’s betrayal, my friend described her as looking like “the evil stepmother”. I think this was because of her Edwardian hairstyle, reminiscent of Disney villains. I actually really appreciated the depiction of Catherine’s evil side. Maybe evil is a stretch, but previous movie adaptations have really played down her crazy, focussing more on Heathcliff, and her own tragic demise.
Style Icon?
So, Catherine’s costumes in the new “Wuthering Heights” are initially inspired by the milkmaid style, and consist mostly of over-the-top gowns of white and red. They can be quite ridiculous at times, but only because of her inward emotions. She goes from living in poverty to this extravagant mansion, and she moves further and further away from her true self. She is also of course a lady of class now, so her costumes must reflect that.
If you liked any of Catherine’s costumes then here are a few ways you can adapt them into your everyday style. Because they are so timeless, this shouldn’t be a problem. The milkmaid style is still very fashionable, and with spring just around the corner, milkmaid dresses are back in season. Bold contrasts, particularly between white and red, are also reminiscent of Catherine. Blouses with puffy sleeves will also work well. You could also try some corsets, but beware, they will take ages to get on and off. Catherine also sometimes wears big, bold jewellery, so if you have any statement pieces, get them out of your drawers!
However, don’t let your style hide or constrain your true self like Catherine does. What worked well about this movie adaptation, for me, was its artistic freedom. It was unique and bold, which many people undoubtedly will have a problem with. If we forget about the original plot of the book (which I think is necessary), then we can appreciate the creativity of this adaptation and I look forward to seeing what Emerald Fennell does next.