Nia DaCosta’s upcoming film Hedda is poised to redefine mid-century English aesthetics, as its award-winning artisans, led by hair and makeup artist Sharon A. Martin, unveil a unique blend of historical accuracy and contemporary vision, dubbed ‘classic modernity.’ Fans of classic adaptations will discover how costume designer Lindsay Pugh and production designer Cara Brower meticulously crafted a world that honors Henrik Ibsen while boldly charting new visual territory.
The highly anticipated adaptation of Henrik Ibsen’s timeless play, Hedda Gabler, under the visionary direction of Nia DaCosta, is generating significant buzz within the classic film community. Rather than a straightforward period recreation, DaCosta’s Hedda promises a fresh perspective, meticulously brought to life by a team of dedicated artisans. At the heart of this new vision is a concept coined by hair and makeup artist Sharon A. Martin: ‘classic modernity,’ a phrase designed to encapsulate the aristocratic world of mid-century England with a contemporary twist.
This innovative approach was recently highlighted during a Variety Artisans Spotlight event, where Martin, alongside editor Jacob Schulsinger, costume designer Lindsay Pugh, and production designer Cara Brower, shared insights into their creative process for the film starring Tessa Thompson as the titular character. Their collective efforts demonstrate how cinematic craftsmanship can pay homage to classic source material while pushing aesthetic boundaries, a delicate balance that deeply resonates with fans of literary adaptations.
The Vision: ‘Classic Modernity’ in Hair and Makeup
Sharon A. Martin‘s ‘classic modernity’ concept for Hedda allowed for remarkable creative freedom. As Martin explained during the Variety event, the film is “very period,” yet it also incorporates elements that could be seen as a “mix of today and the period.” This flexibility was crucial for distinguishing the film’s character groups. “Because we had the two groups of friends, it gave me a lot of scope to play around with the shapes and the looks,” Martin stated, noting that George Tasman’s (Tom Bateman) friends maintained a more classic appearance, while Hedda’s circle looked “more to the future.” This thoughtful differentiation provides visual cues that deepen the narrative, offering subtle insights into the characters’ mindsets and allegiances.
For Tessa Thompson’s Hedda Gabler, Martin’s approach emphasized a controlled, almost masked persona. Hedda’s hair is depicted as “pulled together,” “very tight,” and “very straight,” reflecting her emotional restraint and manipulation. Her iconic red lipstick, carefully selected to complement Thompson’s skin tone, remains unblemished throughout the film, serving as a constant symbol of her meticulously maintained facade. This deliberate consistency in Hedda’s appearance underscores her calculated nature, reinforcing the film’s central theme that “she manipulates everything,” as articulated by the artisans during the spotlight, according to AOL.
Crafting Character Through Costume: Lindsay Pugh’s Approach
Costume designer Lindsay Pugh faced the unique challenge of translating Ibsen’s complex characters into visually distinct styles, particularly for Hedda and Eileen Lovborg (Nina Hoss). DaCosta’s adaptation famously gender-switches Gabler’s ex-lover, Eilert, to Eileen, a choice that profoundly influenced Pugh’s design strategy. Pugh aimed to reflect Eileen’s journey and position within a male-dominated world through subliminal sartorial choices, creating a feminine aesthetic that subtly echoed masculine tailoring. This nuanced design ensures Eileen blends into her environment without overtly betraying her unique circumstance.
For Hedda, Pugh’s most significant costume choice was the perfect green dress, intended to camouflage Hedda’s manipulative actions within a scene. The challenge was finding a shade that enhanced, rather than drained, Thompson’s complexion. “It’s finding that balance because the wrong green could actually drain her,” Pugh noted. The final dress, with its delicate silk tool and lace top over the green, acts as both a visual statement and a tool for Hedda’s psychological warfare, ensuring her “mask” remains intact, as reported by Variety.
Building the Eccentric World: Cara Brower’s Production Design
Production designer Cara Brower’s collaboration with Nia DaCosta was fundamental in establishing the film’s distinctive, eccentric landscape. DaCosta, known for her precise vision regarding script, environment, and blocking, had specific ideas, including a ballroom featuring a balcony and a grand staircase. Brower sought a location that possessed “otherworldliness, romantic qualities, and seemed a little bit eccentric,” ultimately finding the perfect fit in Flintham Hall. This location provided the rich, textured backdrop essential for Gabler’s complex story.
One of the film’s most dramatic sequences involves a crashing chandelier. Originally conceived for the ballroom, Brower and DaCosta creatively relocated the scene to the glass conservatory. This decision not only offered a visually striking setting—fitting for Gabler’s wild inclinations—but also provided a practical reason to utilize the space. Brower’s team meticulously engineered the fall, constructing a temporary floor to protect Flintham Hall and ensuring the chandelier cascaded “beautifully” for cinematographer Sean Bobbitt’s two-camera setup, creating a truly unforgettable moment for the film.
The Classic Play Reimagined for a New Era
The choice to adapt Henrik Ibsen’s Hedda Gabler for a mid-century English setting, with a ‘classic modernity’ aesthetic, speaks to Nia DaCosta’s ambitious vision for the project. Hedda Gabler, first published in 1890, remains a pivotal work in realist drama, exploring themes of societal constraint, unfulfilled ambition, and psychological manipulation through its iconic protagonist. DaCosta’s decision to re-envision this classic, notably through the casting of Tessa Thompson and the gender-swapping of a key character, has been a subject of interest since the film’s early announcements.
Orion Pictures and Plan B are producing the film, with DaCosta also serving as a producer alongside Thompson. Early reports, such as those from Deadline in 2022, highlighted the excitement around DaCosta reuniting with Thompson for this ambitious project. Fans of Ibsen’s original work, as well as those eager for bold cinematic interpretations, are keen to see how this blend of classic narrative and contemporary visual design will unfold.
The meticulous work of Sharon A. Martin, Lindsay Pugh, and Cara Brower in developing the aesthetic world of Hedda suggests a film that will not only honor its literary roots but also offer a fresh, visually compelling experience. Their collective vision for ‘classic modernity’ promises to make Nia DaCosta’s Hedda a definitive guide for future adaptations, proving that manipulating every detail—from a perfect red lip to a crashing chandelier—can create a truly transformative cinematic experience.
