As the enchanting soundtrack starts and Julie Andrews’ voice as Lady Whistledown transports us to Regency-era England, a question flutters in the air, through the ballrooms and into the middle of all the hot gossip of the ton: Just how historically accurate is it all?
From the casting choices to the lavish costumes, the Netflix series by Shonda Rhimes has managed to sneak its way into our hearts with each beautiful love story and spark debate among both the romantics and the history enthusiasts.
And so, this author would like to take you along on a journey to explore this lavish setting from a historical standpoint so we can all decide for ourselves…
Is Bridgerton a faithful portrayal of the Regency era or a modern fantasy draped in the British customs of the past?
Bridgerton whisks us away to the bustling social season of 1813 London, a time brimming with debutantes vying for attention at court, all in the quest for advantageous marriages. The Netflix show expertly captures the spirit of Regency high society, with the critical role of social hierarchy and reputation. Most of us bookworms are already familiar with that world from the works of Jane Austen and Georgette Heyer.
However, Bridgerton sets itself apart with its bold, inclusive casting choices, presenting a far more diverse version of the English ton and even the royal family in the show. We see a society where people of all races and backgrounds mingle in the upper classes of the ton. This is not the case in the Bridgerton book series, where the same characters are predominantly white and not of mixed race. The author, Julia Quinn herself, has stated that she appreciates this refreshing shift from the original material as by taking this creative liberty, the show opens up a fascinating ‘what if?’ storyline. What if the racial dynamics of the period were different? How would historical events have unfolded?
This unique approach adds a layer of intrigue and fantasy to the series and invites us to explore a more inclusive version of history. It’s a progressive decision that redefines the boundaries of the genre, making Bridgerton a captivating escape into a world that is familiar yet refreshingly new.
What’s one of the first things that comes to mind when you think of Bridgerton? Gorgeous, flashy gowns with fancy accessories and pops of vibrant color as far as the eye can see, courtesy of the great costume designer Ellen Mirojnick. We have all gawked at Daphne’s dresses and corsets, and for good reason. Unfortunately, for all of us fashion dreamers, this would not be the case if we were ever to attend a real Regency ball.
To begin with, such bright colors were not available to the ladies of that time period and some of the patterns seen—for example, the floral gowns Penelope’s mother is usually dressed in—would be entirely impossible to manufacture.
The silhouettes, with the empire waistlines and flowing fabrics, are mostly right, but the details are often missing, as a production of this size would need costumes to be produced quickly and in mass. This is the reason why gowns that would be intricately stitched with jewels by hand for months are presented in their simpler form in the show.
Similarly, the gentlemen’s attire, while maintaining the essence of the period with tailored coats and fitted breeches, often strays from accuracy with its use of texture and colors.
In both women’s and men’s fashion, Bridgerton chooses aesthetics over accuracy, yet, these creative liberties manage to only add to its general charm. The costumes in Bridgerton, although not accurate, work as statements, reflecting each character’s personality and status.
The Bridgertons, central to the story, are often adorned in shades of blue. This choice resonates with their noble stature and dignified bearing. The cool, calming blues mirror their loyalty, integrity, and the deep bonds of affection that tie them together. In stark contrast, the Featheringtons are draped in bolder, more vibrant hues—yellows, oranges, and greens that are as lively and attention-grabbing as their personalities.
This thoughtful use of color extends to other characters as well. For instance, the enigmatic Duke of Hastings, Simon Basset, often appears in darker, more brooding colors, reflecting his complex personality and the inner turmoil he wrestles with, marking him as a quintessential rake. Similarly, Kate Sharma’s attire, rich in warm and earthy tones, speaks to her grounded nature and spirited resolve.
As we have established, the Bridgerton series walks the fine line between modern times and the re-imagination of the Regency era. Its approach to manners and etiquette, integral to the era’s society, waltzes that very same line gracefully. While the curtsies, bows, and formal introductions are there, they are often executed with a casual air that would have made Jane Austen raise her eyebrow. Bridgerton characters navigate their society with an ease that somewhat glosses over the strict societal norms that defined the lives of real people of the era.
Moreover, the dialogue between the characters sometimes strays away from the carefully constructed conversation that was common among the ton in Austen’s time. And that creative liberty feels like a missed opportunity to fully immerse us viewers in the linguistic elegance of the era.
Understandably, the show approaches issues of the Regency time with a certain gloss, often prioritizing dramatic narrative and aesthetic appeal over realism.
The series touches upon the societal expectations placed upon women of the time, but it does so with a light hand, only skimming the surface of the limitations and struggles that women faced in the 1800s. Bridgerton opts for a more modern narrative where women navigate their lives with a degree of personal agency. While empowering and appealing for us modern viewers, this narrative glosses over the harsh realities of the time.
Similarly, when addressing other social issues, such as class divisions, the show presents a sanitized version of reality.
Furthermore, "Bridgerton" approaches other pressing social issues, such as sexuality and identity, through a distinctly modern lens, prioritizing romanticized drama over a nuanced exploration of these topics as they would have been experienced in the historical context.
Bridgerton’s soundtracks are not what we are used to hearing in period dramas. Instead of opting for classical music, the producers of the show went for string covers of contemporary pop songs.
This brings a breath of fresh air into the ballroom, where a young audience can enjoy a historically accurate choreography but still see themselves represented in the characters. The tracks are carefully selected to mirror the characters’ feelings in each scene, so when we see Kate Sharma watching Anthony, Daphne Bridgerton’s brother, dance with her sister while Robyn’s “Dancing on my Own” plays, we can totally sense the heartbreak and relate to that feeling of hopelessness.
Another interesting addition to the series’ soundtrack is the cover of the Bollywood song Kabhi Khushi Kabhie Gham. In this case, the cover acts not only as a way to bring a modern twist to the scene, but also to add the dimension of tradition and cultural representation.
In summing up the historical accuracy of Bridgerton, it's clear that the show, with its vibrant colors and sweeping romances, is as enchanting as it is anachronistic.
As fans of both the show and the literature of the time it represents, we can only appreciate it for what it is—a delightful diversion, a Regency-inspired fantasy, a historical drama and, perhaps, a reminder that sometimes history should not be confined to the pages of textbooks, not a history lesson. As such, history can be reimagined and celebrated in new ways, bringing different perspectives to stories we thought we knew.
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No, unfortunately, Lady Danbury is not based on a real-life historical figure. She is a fictional character created for the Bridgerton series, portrayed by actress Adjoa Andoh. However, such gossip columns did get published at the time, with the omission of the full names of those involved.
No, the Duke of Hastings (based on "Duke and I", first book of the series), as depicted in the series, is not based on a historical figure. The character, portrayed by actor Regé-Jean Page, is a fictional creation and his portrayal as a Black man is a creative choice by the show's producers, not a reflection of historical record.
Yes, the character of Queen Charlotte in Queen Charlotte: A Bridgerton story is based on a real historical figure. Queen Charlotte of Mecklenburg-Strelitz was the wife of King George III and served as the Queen of Great Britain and Ireland, a predecessor of Queen Victoria. In the series, she is portrayed by actress Golda Rosheuvel. However, Bridgerton takes creative liberties with her portrayal, as it does with other historical aspects of the show.
Historically, various plagues, including the Bubonic Plague, had significant impacts in earlier centuries. However, the show's depiction of public health issues like the plague is not a major focus and tends to be more fictionalized for the narrative's purposes.
