'20s Swimwear, a Drop-Waist Wedding Dress, and More “Downton Abbey 2” Costumes

In the second “Downton Abbey” film, Lady Mary takes on a more modest wardrobe as she prepares to become the dowager. We see her in looks that are less skin-baring and sensual and softer in tone and silhouette. Costume designer Anna Robbins told Hello!, “I looked at reintroducing a waistline to her outfits. During the 1920s, dresses became more linear, then it became a dropped waistline, then as we get to the end of the ’20s, we find form in the waist again.”

Lady Edith’s wardrobe speaks to the forward-thinking woman she aims to be. Edith craves a lifestyle as a working journalist, and we see that reflected in pieces such as her pants. At the same time, since the family are situated on the French Riviera, clothes are lightweight in free-flowing fabrics to combat the heat. Robbins told Digital Spy the printed peach kimono was a great find: “I knew as soon as I saw it I was going to be able to pair it with trousers and make that sartorial point that she’s embracing this incredible new look,” she said. “We’re making that step forward that says we’re about to enter the ’30s . . . it should feel as contemporary as it can, while still very accurate in terms of cut and proportion.”

Viewers get to enjoy the wedding of Tom Branson and Lucy Smith in the second film, and Robbins described finding the right bridal gown as a labour of love, mentioning it to Hello!: “That goes down as a favourite, but it’s hard for a wedding dress not to come into your top costumes.” The off-white look features a drop waist with intricate lace embroidery that trims a floor-length tulle skirt. It’s also complemented by a vintage veil with an affixed tiara. “It felt cutting-edge for the time. I wanted to get a contrast between the wedding dresses we’ve seen previously in the series and to give the sense Lucy would be able to lift up her skirt and have a dance,” Robbins said.

Robbins honed in on this printed velvet look in particular of Cora Grantham’s. It’s a dark-taupe, caped design by Fortuny that she styles with satin, opera-length gloves during a key emotional scene at a party. Robbins emphasised the heaviness of the number to Digital Spy, explaining, “It was about finding the right weight of the velvet so that it felt vintage, draping it, and working on the stand to create Cora proportions, making it feel like it was hers.”

Myrna Dalgleish is the silent-movie star who comes to Downton for her role in the film that’s being shot at the castle. In contrast to Lady Mary, she’s the picture of pure glamour this time, sporting long, sweeping gowns of silk with fur trims. While she comes from a working-class background and can relate to many of the Downton staff, her lavish outfits help her construct the person she’s trying to become.

Violet is largely the focus of the second film, as the Crawleys dissect her past and come to understand her inheritance of the villa they visit. She, too, wears lightweight fabrics, but ornate details such as brooches, pearls, and lace embroidery are a steadfast signature of hers, reflecting that she also has a story to tell.

Mrs. Hughes and Mr. Carson are thrown for a loop as they must break out of their habitual way of life to visit the South of France. It’s dark, layered, well-tailored uniforms like these that remind us of their resistance – especially Mr. Carson’s – to deviate from their roles as staff.