For an in depth journey through the making of the Anne films look inside the Blu-ray Collectors Edition
All of Anne Shirley and Marilla Cuthbert‘s costumes were original pieces, constructed specifically for the first film. Mann was faithful to Edwardian styles, right down to the petticoats, furbelows, corsets and more. Ruth Secord took the reigns as costume designer for Anne: The Continuing Story, but stayed true to Mann’s initial vision. Secord used both items that were made specifically for the film, and authentic vintage pieces. Gilbert Blythe‘s costume, for instance, was a genuine medical uniform from the First World War.
Martha Mann returned as costume designer for Anne: A New Beginning, in order to recreate the tonality of the wardrobe established in the initial trilogy. Mann’s wonderful sense of style and creativity allowed her to craft not only many original designs, but to locate genuine period clothes, and pull many items from stock to create an accurate and rich palette which would accentuate the story. Thanks to the efforts of Mann and Secord, the lush, visually stimulating costuming of these films will continue to impress for generations to come.
In order to authentically portray two very distinct periods in Anne of Green Gables—A New Beginning, every set was extensively researched and painstakingly recreated by the Production Designer, Ray Lorenz. Every subtle detail of color, texture and lighting needed to reproduce a visual sweep in time spanning the late 1890’s to the mid 1940’s, where both of Anne’s stories take place. The set design team examined and took into account the differences in trends, resources, technology and historical advancements that shaped each time period in order to assemble and create each required backdrop and setting. The team also had the challenge of recreating the original sets that were used and made iconic in the Anne of Green Gables trilogy; requiring extremely accurate attention to every pre-existing detail; such as the interiors of Green Gables.
Many of the film’s sets were staged and constructed at the Sullivan Studio and Backlot in Toronto, giving the Production Design team a blank canvas to create their vision of the engaging time period of Anne’s youth. Although the film employed a mixture of sets, actual location photography and “blue and green-screen” CGI technology, each visual backdrop had the task of bringing to life two unique eras in history as seamlessly as if the entire film had been shot on location in a real world that sadly no longer exists.