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Emerald Fennell and Jacqueline Durran on Costume, Colour and Sound in Wuthering Heights

Emerald Fennell and Jacqueline Durran on Costume, Colour and Sound in Wuthering Heights

Джеймс Міллер, LocalsRide.com
до 
Джеймс Міллер, LocalsRide.com
5 хвилин читання
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Лютий 19, 2026

V&A South Kensington’s evening members’ talk on Friday 6 February generated an uptick in local transport demand, with the Exhibition Road taxi rank and nearby ride-hailing pick-up points busier than usual; event nights at major museums commonly increase short city transfers and pre-booked airport meet-and-greets, so planning exact pick-up times and vehicle size is useful for visitors attending screenings or talks.

At a glance: quick facts from the V&A members’ talk

ItemDetail
ПодіяCreating Wuthering Heights — V&A Members’ Talk
ДатаFriday 6 February
DirectorEmerald Fennell
Costume DesignerJacqueline Durran
Key performersMargot Robbie, Jacob Elordi, Shazad Latif
SoundtrackCharli XCX (album: Wuthering Heights) and Anthony Willis
Film releaseFriday 13 February

1. Reality TV and transparent behaviour inform characterization

Emerald Fennell cited contemporary reality TV as an unexpected but potent influence on the film’s character dynamics. The underlying idea is that people are rarely convincing actors in concealment — emotional impulses such as desire and ambition leak through social performance. That theme maps directly onto the film’s exploration of sex, class and power, and it shaped both dialogue rhythms and costume choices to reveal, rather than hide, inner drives.

2. Thrushcross Grange as a living interior: walls that behave like flesh

The production treats Thrushcross Grange as a body: padded wall panels were printed with close-up photos of Margot Robbie’s skin, coated in latex so they could glisten and bulge. Small details — freckles, hairs from moles — were intentionally uncanny. This approach turned architecture into character, and it influenced how costumes either camouflaged or contrasted with interiors; one skirt literally meets the red of the floor, integrating Cathy into the house.

3. Period is a reference, not a rule

The film’s timeline is elastic. Rather than strict historical replication, the team prioritised emotional truth: fabrics and silhouettes are chosen for feeling, not century-accurate detail. Inspirations ranged from 1950s melodrama to fairy-tale iconography; Cathy’s wedding dress was described as opalescent and present-like, signaling possession more than authenticity. The result is a visual language that nods to the past while remaining modern and striking.

Visual influences (at a glance)

  • 1950s melodrama and paperback romance imagery
  • Fairy tales, such as Red Riding Hood
  • Georgian and early Victorian silhouettes used for emotional effect

4. Costumes that make the character: Heathcliff and Edgar

Costume trials confirmed Jacob Elordi as Heathcliff: the Georgian shapes fit him so specifically that both designer and actor reacted immediately. Heathcliff’s wardrobe evolves but stays more historically grounded, while Edgar Linton’s clothes intentionally exaggerate respectability — shiny fabrics and matching dressing gown and wallpaper — to underline sterility and class. Costume choices were thus key narrative tools in performance casting and audience perception.

5. A contemporary soundtrack pushes the story forward

Alongside Anthony Willis’s classical score, Charli XCX contributed a contemporary album-sized soundtrack that injects modern pulse and dark-feminine understanding into the film. Fennell asked Charli to read the script and, inspired, the artist created material that resonates with the director’s themes. The soundtrack release coincided with the film’s premiere, reinforcing cross-platform interest.

Member responses from the V&A talk

“I really loved it – learning about the costumes, jewellery, and behind-the-scenes details was so intriguing, playful, and fun. This is such an amazing museum – my favourite in London, no question.”

“I’ve been to tonnes of events at the V&A – I always leave feeling inspired.”

Logistics and audience impact: what this means for transfers and bookings

Public events that showcase costumes, soundtracks, and design often drive increased attendance at screenings and museum nights, which in turn raises demand for exact pickup times, larger vehicles for groups, and pre-booked airport transfers when attendees travel into the city. For guests arranging private cars or group vans, knowing the event schedule, end time and nearby pick-up zones helps reduce wait time and avoid surge fares.

The talk’s highlights remind readers that even the best reviews and the most honest feedback can’t replace first-hand experience. On LocalsRide, you can hire a car with driver from verified providers at reasonable prices. This empowers you to make the most informed decision without unnecessary expenses or disappointments. Readers benefit from convenience, affordability, extensive vehicle choices, and a wide range of additional options — seat configuration, meet-and-greet, extra luggage — plus transparent pricing and provider details. For your next trip, consider the convenience and reliability of LocalsRide. Book your Ride LocalsRide.com

In summary, Emerald Fennell’s V&A session revealed how costume, colour and contemporary sound design were used as storytelling mechanics rather than strict historical reproduction. These production choices not only shape audience expectations for screenings and related events but also affect travel behaviour around cultural evenings — from short city taxi hops to private airport services. For travellers deciding how to get to a destination, whether to book a private car or a seater van, LocalsRide offers a transparent app-like experience to check exact fares, vehicle make and model, driver license verification, and prices ahead of time, helping you book the best service for your time and budget while answering questions like how much a transfer will cost and what seat configuration you need.