When Catherine Fay set out to design costumes for the stage adaptation of Emma, her vision was nothing short of revolutionary. Tasked with merging the elegance of Regency-era fashion with the vibrancy of contemporary aesthetics, Fay created a wardrobe that not only captures the heart of Austen’s world but also speaks to today’s fashion-forward audience. From ethereal tulle overdresses inspired by 19th-century muslin to bold, character-defining colour palettes, her designs tell a story as compelling as the characters themselves.
Through thoughtful collaboration with director Claire O’Reilly and the creative team, the costumes demonstrate the power of costume design to shape character arcs, reflect social hierarchies, and connect with modern sustainability practices. With a keen eye for detail and an inventive use of materials, Emma’s costumes blur the line between historical accuracy and theatrical expression, drawing gasps from audiences and setting a new standard for period-inspired fashion on stage.
Clara Potts sits down with Catherine Fay to find out more about her creative process and the artistry behind one of Irish theatre’s most striking costume collections.
- Catherine, your designs for Emma beautifully blend Regency-era aesthetics with contemporary elements. Can you tell me about the modern fashion influences that inspired the fusion?
It was clear from initial meetings that Claire O’Reilly was keen to use the regency period with a contemporary twist. When you have that in mind you start to see where those influences are being used in modern fashion. Simone Rocha has beautiful details in her work that reference that period with puff sleeves and empire line dresses. The Regency period used very fine muslin to create almost see through dresses so the trend for tulle overdresses in contemporary fashion felt like a direct line of influence from that period.
2. Colour is such a powerful tool in storytelling. How did you use the palette in Emma to reflect the personalities and social standings of characters like Emma Woodhouse and Harriet Smith?
Emma’s character is quite a powerhouse in the story, she’s confident, quick witted and very able. Harriet is the opposite until she eventually finds her voice. Emma’s costumes use bright colours and strong shapes, I used the cropped puff sleeve top and culottes in portraying her confidence early on. Harriet is in pastels and softer shapes, more ethereal. Her dress at the party was to show the influence Emma’s been having on her but how she’s made the wrong choices teaming the bright pink dress, lilac puff sleeves and lime green gloves to try and show herself as something she’s not. Costuming Emma in the blue and white fabric of her world was to acknowledge how trapped she is even though she appears to be totally in control.
3. Sustainability is such an important topic in today’s fashion industry. Were there any eco-conscious materials or practices you incorporated into the costume design for this production?
Costume tends to have a high circular turn over when you’re working somewhere like The Abbey which has a large store of costumes. I would have sourced some of the costumes from this store and when Emma is finished the costumes go back into this collection and are available for reuse. We would have tried to source high street clothing and fabrics locally to try and keep our footprint to the minimum. Unfortunately, fabric shops are sparse here so using companies outside the country is inevitable on a show of this scale, but there would be considered practices used here too, for example buying several pieces together rather than individually and including other supplies the department might need from these companies so you’re cutting down on air miles.
4. Balancing historical accuracy with theatricality must be quite a challenge. How did you navigate that, ensuring the costumes remained authentic but also functional for live performance?
One of the pleasures in designing a show like Emma is being able to play with the historical silhouette of the period and create something that will work for the play and the actor.A show of this length and high energy is very hard on costume, they need to be very well made preferably with fabrics that can endure that kind of action. Keeping in mind how much of the period we wanted to convey in the shape the design then had to serve the requirements of what the actor was doing in the performance and how it will look in the context of the rest of the overall design. It all starts to fall into place.
5. Accessories often carry symbolic weight in fashion. Are there any pieces in Emma that hold deeper meaning or play a special role in storytelling?
Clare Barret uses a series of hats in her role as the servant that while comedic are also there to show the role of that character. Her black jumpsuit was to define the servant as one of the ‘crew’, just as the dressers and all backstage would wear blacks. But the hats give clarity to how her character functions in scenes.
6. Emma undergoes so much growth throughout the story. How does her wardrobe reflect her personal journey as a character?
Emma moves through so many emotions during the production, beginning at the Weston’s wedding in her white tulle dress that reveals her top and culottes in the fabric of Hartfield to ball gowns and the oversized t-shirt with the Hartfield heart to her final frilled wedding dress with lips on the bust. Toni O’Rourke who plays Emma was a great collaborator during the process and each piece of costume reflected what Emma was going through in the story but also helped by how Toni behaves in them and manages the changes onstage. The t-shirt in the bedroom shows her reduced to something simple when things are all going wrong and she puts on a light pink robe to visit Mrs Weston and get help both items reflecting her sad state of mind, back into the burst of colour for her wedding in the finale when it’s all come good again.
7. Costume design is a collaborative process. How did working with Director, Claire O’Reilly and set designer, Molly O’Cathain influence your designs for this production?
There was great collaboration with Claire, Molly, Sinead McKenna (lighting designer) and Jenny O’Malley (composer and sound designer) on this production. It was important that all the elements spoke to each other (it always is) to achieve the full effect that Claire was looking for. Obviously, Molly’s wonderful play with fabrics on the set directly influenced the costumes and by enhancing the colour of other costumes they could have the most impact on the set in certain scenes.
8. Were there any unconventional materials or techniques you used to bring the costumes to life? I’m curious how they might have enhanced the visual storytelling.
Nothing particularly unconventional in this production. Obviously we had some fabrics printed with the Hartfield design which we did in a number of fabrics, cotton sateen for the crop tops and culottes, plush velvet for Mr. Woodhouse’s dressing gown and stretch jersey for Emma’s underwear. Mrs. Elton’s costume required some clever construction from the brilliant maker Breege Fahy to achieve the oversized legs in her jumpsuit.
9. Finally, I imagine the audience’s response to the costumes can be very rewarding. Have there been any reactions that surprised or delighted you since Emma premiered?
It’s always a bit nerve wracking to sit in the first preview, but the audience’s reaction to Emma has been brilliant from that first time. I’m delighted with the response Emma has had and so pleased to hear from friends and family about how much they have enjoyed it.
