‘Hedda’ Unveiled: Artisans Craft Aristocratic Sets, Embrace Mid-Century English Style!

In the creation of Nia DaCosta’s film “Hedda,” hair and makeup artist Sharon A. Martin introduced the term “classic modernity” to describe the elegant setting of mid-20th century England.

“I came up with ‘classic modernity’ because the film is very much a period piece, yet it blends elements of contemporary styles with those of the past,” Martin explained in a The Bangin Beats Artisans Spotlight hosted by Amazon MGM Studios and moderated by Jazz Tangcay, Senior Artisans Editor.

“With two distinct groups of characters, it allowed for creative freedom in defining their styles. George’s circle maintained a more traditional look, whereas Hedda’s friends embraced a more forward-thinking aesthetic. This contrast provided a rich canvas to work on,” Martin continued.

Alongside Martin, the “Hedda” team included editor Jacob Schulsinger, costume designer Lindsay Pugh, and production designer Cara Brower. The film, inspired by Henrik Ibsen’s play, stars Tessa Thompson as Hedda Gabler. The storyline captures her conflict between past affections and her present life. During location hunts, Brower worked closely with DaCosta to pick settings that would suit the complex characters of Gabler, Eileen Lovborg (Nina Hoss), and George Tasman (Tom Bateman).

“Nia has a particular vision for the script and desired an eccentric yet romantic environment. She wanted specific architectural features like a grand staircase and a surrounding balcony in the ballroom. We both agreed on the house’s unique style, and when I first saw Flint Hall, I knew it was the perfect match because it had everything we were looking for,” Brower shared.

DaCosta introduces a twist in the narrative by changing Gabler’s ex-lover Eilert into Eileen.

Early in the production, Pugh focused on distinctly differentiating the styles of Gabler and Eileen, reflecting their emotional arcs. “The script required specific costume elements that subtly mirrored a man’s suit and shirt, enabling Eileen to seamlessly fit into a male-dominated environment without drawing attention,” Pugh stated.

“Hedda is all about control and manipulation, and I wanted her dress to act as a form of camouflage,” Pugh added.

The costume designer also elaborated on the challenge of selecting the perfect shade of green for Hedda’s dress. “The dress needed to allow her to blend into her surroundings while manipulating others. We layered green silk under a laced top, being cautious to choose a shade that wouldn’t overshadow her. It’s all about the subtle details, like her makeup and tightly styled hair, that maintain her poised and perfect appearance,” Pugh explained.

Martin also highlighted the collaboration with Pugh to find the ideal red for Thompson’s lips, which remained consistent throughout the film. “By mixing different lip colors and observing the costume effects, we found the perfect balance. The green and red tones were crucial to maintaining Hedda’s warmth and flawless facade,” Martin remarked.

The film features a dramatic scene with a chandelier crashing in a glass conservatory, a setting choice that Brower and DaCosta felt was uniquely fitting for Gabler. “We had to engineer the chandelier’s fall to ensure it shattered spectacularly. The entire sequence required meticulous preparation, from reinforcing the floor to positioning the cameras to capture the moment perfectly,” Brower concluded.