Even though there are dozens of different experts that work on the appearances of characters in movies, they aren’t immune to making mistakes. And in the end, viewers may catch these fails in makeup or costume choices that couldn’t have possibly existed during the time in which the movie was set.
We at Bright Side decided to watch some of our favorite movies and read some fashion history books to find the mistakes makeup artists and costume designers have made in popular films.
Gone with the Wind
No matter how trendy Scarlett O’Hara was, she couldn’t have predicted the clothing trends for decades in advance. Her famous slim-fitting red dress with feathers and rhinestones has nothing to do with Civil War fashion — it was inspired more by styles from the 1930s and 1940s.
Julius Caesar
In the 1953 film, most of the female characters wore extravagant bullet bras. In Ancient Rome, women would wear a strophium, a prototype for the modern bra, but these weren’t bullet bras.
Legends of the Fall
Trying to create a romantic look, costume designers ignored the historical facts. Brad Pitt’s character has beautiful blonde hair and facial hair but these things were unacceptable for the time period. More and more men were choosing to don big mustaches and short hair at this time.
King Arthur
The film, which is set in the fifth century, portrays knights in heavy metal armor. But until the fourteenth century, such armor was made of leather, and only mail armor was made of metal.
Harry Potter and the Order of the Phoenix
The film is about events that happened in the ’90s and the clothes look pretty accurate, however, they’re still not perfect. Dudley Dursley is wearing G-Unit shorts — a brand that was created by 50 Cent in 2003.
Hello, Dolly!
The movie is set in New York at the end of the nineteenth century when such a hairstyle, lip gloss, and eye makeup didn’t exist. But the movie still got 3 Oscars and became one of the most important films of the decade.
Queen Margot
Throughout the entire film, the characters are wearing beautiful dresses with open shoulders. They look great but in the sixteenth century, women never ignored shifts (or chemise in French). These pieces of clothing protected them from the cold, absorbed sweat, and were really easy to wash.
Another mistake costume designers made was the way the main character’s hair was let down. Based on the few portraits we have of Margaret of Valois, she had curly hair that she wore up.
The Danish Girl
The Danish Girl starts in 1926 but in the first half of the film, we see women in slim-fitting clothes that have nothing to do with the fashion of the 1920s.
At the beginning of the film, Gerda has a hairstyle that was actually quite outdated for the setting that favored waved or bobbed hair.
A Dangerous Method
In one scene, Keira Knightley appears only in her corset, which is a contradiction to the original rules that came along with wearing this piece of clothing. A woman would never wear a corset alone.
Bonus: Mary Queen of Scots
In Mary Queen of Scots, Saoirse Ronan is wearing asymmetric earrings, which were non-existent in sixteenth-century Scotland.
In your opinion, do you think such mistakes are serious or no big deal?
Preview photo credit A Dangerous Method / Recorded Picture Company
When she got home, she excitedly shared with her parents that she had made a new friend at school: Their surprise was evident when they saw the picture she brought with her
In the late summer of 1997, amidst the bustling halls of a Cape Town maternity hospital, Celeste Nurse awoke to a nightmare. Her infant daughter, cradled closely in her arms just moments before, was now inexplicably missing. A woman disguised as a nurse had stealthily absconded with the child while Celeste dozed off, leaving behind a void that would haunt the Nurses for two decades.
Year after year, they commemorated their daughter’s birthday with bittersweet celebrations, clinging to hope amid the anguish of uncertainty. Then, in a remarkable turn of events in 2015, a glimmer of possibility emerged. With the arrival of a new addition to the Nurse family, named Zephany, hope stirred once more.
Zephany bore an uncanny resemblance to their long-lost daughter, sharing not only her features but also her birthday. Astonished by this revelation, the Nurses wasted no time in seeking confirmation, enlisting the aid of authorities for a DNA test. The results validated their deepest yearnings – Zephany was indeed their missing child.
“DNA is a truth teller. It affirmed what our hearts always believed”, reflected Celeste Nurse on the profound moment of reunion. However, for Zephany, then known as Miché Solomon, the revelation unraveled her world. Despite her birth certificate asserting her origin at Retreat Hospital, records of her birth were conspicuously absent.
As the legal proceedings unfolded, Miché grappled with the revelation that Lavona Solomon, the woman she had always regarded as her mother, stood accused of kidnapping and fraud. Lavona professed her innocence, claiming she had received the baby from a woman named Sylvia, an assertion unsupported by evidence.
Ultimately, Lavona received a ten-year sentence for her crimes, leaving Miché to navigate the complex terrain of her dual identity. Reunited with her biological parents under the guidance of compassionate social workers, Miché wrestled with conflicting loyalties.
“It was a battle waged in the recesses of my mind and heart”, confessed Miché, torn between the families vying for her allegiance. Despite her reunion with her birth parents, Miché found solace in returning to Michael Solomon, the man she still considered her father, following her parents’ separation.
Yet, the reconciliation was fraught with challenges as Miché struggled to reconcile her two identities, opting to retain her given name rather than reverting to Zephany. While she maintains occasional visits to Lavona in prison, Miché endeavors to forge ahead, embracing the truth that, though painful, liberated her from a life built on deceit.
“I am both Miché and Zephany, a synthesis of two worlds”, she declared, embracing the complexities of her past while charting a course towards a future defined by authenticity and forgiveness.
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