Keira Knightley, currently captivating audiences in Netflix’s *Black Doves*, has a long-standing relationship with period dramas and their breathtaking costumes. From the elegance of *Anna Karenina* to the grandeur of *The Duchess*, her on-screen wardrobe is legendary. But perhaps no costume is more iconic than the emerald green gown she wears in Joe Wright’s adaptation of *Atonement*.
In this sweeping romantic drama, Knightley portrays Cecilia Tallis, a young woman from high society who falls deeply in love with Robbie Turner (James McAvoy), the governess’s son. Their clandestine meetings in the library, charged with unspoken passion, are punctuated by the mesmerizing presence of Cecilia’s dress. It’s not merely an outfit; it’s a character in itself, commanding the screen and embodying the complexities of their forbidden romance.
The genesis of this now-iconic gown lies with the brilliant costume designer, Jacqueline Durran, who had previously collaborated with Wright on the acclaimed 2000 adaptation of *Pride and Prejudice*. Wright’s vision for the dress involved three crucial elements: lightness, length, and a specific shade of green. The scene taking place on a sweltering summer day required a garment that was both revealing and subtly elegant. The length was paramount for the intimate library encounter, while the specific shade of green held symbolic weight, representing the blossoming love between Cecilia and Robbie, and the burgeoning jealousy of Briony (Saoirse Ronan), who witnesses their secret rendezvous.
Durran’s design is a masterclass in subtle storytelling. While *Atonement* is set in 1935, a time when clothing styles were beginning to transition, the dress itself is a calculated anachronism. It features thin straps, a low back, and a flowing skirt with a daring central slit—a bolder design choice than typical fashion of the era. Although Durran acknowledges this stylistic departure, it’s precisely this calculated anachronism that elevates the dress beyond mere period accuracy. It beautifully complements Cecilia’s aristocratic style and adds a layer of visual intrigue. The strategic draping around the hips, coupled with the revealing nature of the design, intensifies the scene’s palpable tension, capturing James McAvoy’s captivated gaze when Knightley turns, revealing her bare skin. The effect is breathtaking.
This collaboration between Wright and Durran proved so successful that it paved the way for their subsequent work on *Anna Karenina*, with Knightley again as the leading lady. Durran’s work on *Atonement* earned her an Oscar nomination for Best Costume Design in 2008, while her work on *Anna Karenina* ultimately secured her the coveted award in 2012. The green dress in *Atonement* remains a testament to the power of costume design, a perfect synthesis of historical context, character development, and cinematic storytelling, forever cementing its place in film history.
