Daisy Edgar-Jones: Two Ways to Dress Austen

The Sense and Sensibility press tour has given Daisy Edgar-Jones unusually rich material to work with. Jane Austen provides the obvious vocabulary of corsets, romantic fabrics and historical femininity, yet stylist Dani Michelle has avoided turning the wardrobe into literal period costume. Two appearances make that strategy especially clear.

One takes the discipline of nineteenth-century dressing and translates it through severe black-and-white Schiaparelli. The other reaches directly into the archive for a Chloé Spring 1999 corset and lavender skirt, allowing romance to become softer, more intimate and visibly nostalgic.

For a London Sense and Sensibility Book Club Q&A, Daisy Edgar-Jones wore Schiaparelli Fall/Winter 2026/2027, designed by Daniel Roseberry. The original White Crepe Shirt takes familiar shirting into much stranger territory through a fitted waist, demi-lune sleeves, elongated cuffs and a vertical row of gold Keyhole buttons. Several lower buttons remain open, creating two pointed panels over an Asymmetrical Black Taffeta Skirt covered in intricate pleats inspired by reptile skin. The skirt folds, gathers and drops unevenly around the legs, allowing a monochrome outfit to gain nearly all of its drama through construction. Black pointed pumps finished the look.

To recreate the shirt, Tressé Peplum Shirt keeps the parts that matter most. Crisp white cotton, a pointed collar, gold-tone buttons and a tightly shaped waist reproduce the disciplined upper silhouette. The original Schiaparelli sleeves are more sculptural, while Tressé brings the drama closer to the torso through its peplum construction. Leave the lowest buttons undone so the shirt separates over the skirt, preserving the angular line that makes the Daisy Edgar-Jones styling distinctive.

Below it, Antonio Marras Black Ruched Taffeta Skirt is an excellent translation of the Schiaparelli volume. Lustrous black taffeta gathers sharply along one side before opening into asymmetric draping, elongated ties and a softly flared silhouette. It carries the same tension between formal fabric and irregular construction, which is far more important here than copying every pleat.

The Los Angeles premiere moved Daisy Edgar-Jones into a completely different register. This time, Dani Michelle sourced an archival Chloé Spring 1999 ensemble designed by Stella McCartney. The cream corset features a sweetheart neckline, visible structure and delicate floral details, accompanied by a semi-sheer embroidered shawl draped around the shoulders. A two-tone lavender silk maxi skirt falls from the hips into a fluid floor-length silhouette. The color was chosen with Elinor Dashwood in mind, whose film wardrobe repeatedly uses soft lavender.

For this recreation, GUIZIO Embellished Satin Corset in Pale Yellow captures the aged-ivory tone particularly well. Its satin body stays close to the torso through visible boning, while scattered crystal, sequin and floral embellishments provide the tiny decorative interruptions that keep the surface from becoming plain. The color matters here. Bright optic white would push the outfit toward bridal territory, while pale yellow gives the corset the warmth of an archival garment.

The lower half works beautifully with PINKO Long Taffeta Mermaid Skirt in Light Blue. The original Chloé skirt uses a moodier periwinkle-lavender silk, while PINKO keeps the cool pastel family and, crucially, the elongated mermaid line. Its fitted upper portion opens gradually into a flared hem with delicate pleating, creating the same movement from narrow hips to a softer lower silhouette. A matching waist tie can be kept understated or removed depending on how closely the clean Chloé line is being followed.

For footwear, Tory Burch Clara Crystal-Embellished Pumps keep the pointed black line while adding a crystal bow at the toe. The original Daisy Edgar-Jones look used Jude Fame pumps, so the Tory Burch pair makes the recreation slightly more decorative without disrupting the monochrome discipline. Black velvet also connects beautifully with the sheen of the taffeta.

Finish with Casadei V Celebrity Glittered Sandals in lavender. Fine straps, an open toe and a high stiletto keep the shoe almost invisible beneath the skirt while the glitter catches enough light to connect with the corset embellishment. The color extends the pastel story all the way to the floor without introducing a hard visual break.

Together, these two Daisy Edgar-Jones looks show how useful historical references become once they are treated as design language. One approaches Austen through structure, the other through romance. Daisy Edgar-Jones makes both belong to the same press tour because the period reference stays present while the clothes remain unmistakably alive in 2026.