Sunday 9 January 2011, 09:00
For a costume designer, Lark Rise To Candleford is an interesting project to work on. The research beforehand means I get to spend hours looking at photographs and paintings of the period. It's a part of the job I particularly enjoy.
For this fourth series of Lark Rise To Candleford I spent four weeks designing and preparing the costumes and three months filming.
I have designed programmes set in the 1890s before - one called Uncle Silas comes to mind as it had a similar rural subject matter.
The difference with Lark Rise To Candleford is that now it is in its fourth series the characters are well defined. The Pratt sisters, for instance, have very much evolved into the kind of WAGs of their day.
They pore over fashion plates from Paris (the fashion magazines of the time) and copy them but don't get them quite right - the fabrics are a bit too loud and their outfits verge on the tasteless.
This becomes more apparent when they stand alongside Dorcas, who tends to dress more elegantly and wears shapes that suit her, rather than what's the latest fashion.
For example, she has small proportions and the big leg of mutton sleeves that are fashionable would overwhelm her. The Pratts, on the other hand, don't give a damn - it's fashion, they will wear it.
Corsets are, of course, very much part of the female silhouette in this period and I love the way that the female actors shapes can radically change when they are in costume.
Julia Sawalha, who plays Dorcas, has a particularly malleable waist and I find it amazing how small a waist we managed to achieve with her.
Julia loved to wear her corset. Most of the cast found them uncomfortable and wanted to take them off at lunch time to have more freedom.
The only problem was that they then had to put them back on again and wear them for another five hours which they found even harder to take.
As much as I like designing around corsets, I also like to design more contemporary programmes.
I recently finished working on a 1940s project called The Night Watch for BBC Two, which involves doing as much research as for the 1890s and throws up different challenges such as the accuracy of Second World War uniforms.
This programme is based on a book by Sarah Waters and starts off post-war in 1947 and then moves backwards in time to 1944 and then 1941.
It is about the lives of four women and how they cope with the end of the war when suddenly they aren't needed in the work force anymore, and how their paths cross.
It was exciting to do, as there were blitz scenes and it was a nice change from Lark Rise To Candleford.
Luckily this was also shot in Bath and happened directly after Lark Rise To Candleford so it was relatively easy for my team and I to roll on to it (apart from being very tired).
My own style is pretty simple - I don't want to think about what I wear too much (I do enough of that for the actors).
The most important factor is comfort and, seeing as I spend 12 hours a day on my feet and am often dashing about picking up costumes that have been overlooked or added at the last minute, comfortable footwear is particularly important.
Also, much time is spent outside on exterior locations so warmth is an issue in winter especially. The Night Watch involved many night shoots in sub zero temperatures. I wear lots of layers and big padded jackets - oh, the glamour of it all!
Pam Downe is the costume designer for Lark Rise To Candleford.
Watch a clip of Pam and make up and hair designer, Lesley Faulkner talking about how they created Gabriel's look.
For further programme times, please see the upcoming episodes page.
Comments made by writers on the BBC TV blog are their own opinions and not necessarily those of the BBC.
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Friday 7 January 2011, 09:47
Thursday 13 January 2011, 15:57