In our minds, Hayley Atwell has the most fabulous collection of period clothes outside of a museum. So when we caught up with her to talk about Christopher Robin, a Disney film set in the 1940s, we had to ask.
“I love good writing, which sometimes happens to be period drama,” she tells Digital Spy when we ask about her affection for the genre.
So does she have an enormous walk-in wardrobe that she can wander in and think, ‘Today 1920s, tomorrow 1930s’. We so want this to be true!
“Unfortunately, no. I don’t own any of the clothes that I wear as a costume. They tend to archive them,” she reveals.
“For Agent Carter season one, the prop master created this beautiful glass cabinet with all the key props from the film and the show. So that was a nice memento. And I have one of Peggy’s shirts. But the rest of the time it belongs to the costume staff and that’s their department.”
Her latest period piece, Christopher Robin, is based on A.A. Milne’s classic Winnie-the-Pooh books and she was already familiar with them from her childhood.
“I had the books growing up and I listened to the audio cassettes when I was little and my auntie had a Kanga. I guess like most people in the UK, even if they didn’t read the books necessarily, you always grew up knowing who Winnie-the-Pooh was in childhood culture. And then I saw the cartoons a bit later, which were a more brushed-up, colourful version of the stories.”
Christopher Robin also animates its lead characters at certain points, bringing Pooh Bear and his young human friend to life from the black-and-white drawings that originally appeared in the books.
“Especially in the opening credits, which gives more of a nod to the original aesthetics of the books,” Atwell says. “And I also liked the aesthetic of the toys because that felt like toys coming to life, rather than a spruced-up version of it with veneers and designer clothing.”
Christopher Robin is out now in the US and opens in cinemas in the UK today. Book tickets here.
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