You may have never heard of John Bright’s company, Cosprop, but, if like me, you are an avid follower of period dramas, you will certainly have been dazzled by his work. The exhibition is a rare opportunity to see up close and personal, a small selection of the one million costumes from Cosprop’s London facility, accumulated over sixty years. 

After studying fashion, Bright found a love of puppetry, theatre, film and costume. Scouring flea markets in Paris and vintage markets such as Portobello Road, he built up a collection of historical clothes and accessories, finally deciding in 1965, to found his own costume house.

The exhibition is set out in different rooms illustrating the same creative process of costume creation at Cosprop – a process involving over 40 experts. From working with a designer to source from stock or, if costumes for a character needs to be created, then the same process is followed as per a catwalk designer collection. 

In the early days, costume designers chose Bright’s collection for authenticity, research and costume hire. John Bright said, ‘In the 1950’s, when period films were made, they were an adaptation of what people wore in the 1950’s. In the 1960’s, costume designers thought we need to go another way of thinking about period.’

ABC Television sought Bright’s advice when television transitioned from black and white to colour to understand the use of colour in costume for this new technology. Meanwhile, BBC’s growth in ‘costume drama,’ delivering high quality production values, also required Cosprop’s expertise. Films such as The Charge of The Light Brigade (1968)  and TV epics such as Great Expectations (1967) and War and Peace (1972), cemented his reputation. 

Image Credit: Josie Barry, Miss Haversham’s Wedding Dress – Great Expectations 1967

John Bright explained: ‘I bought the fabric in Camden Town, at a shop which sold furnishing material. It was a straightforward construction, and we broke it down in rather a crude way. It was filmed in black and white, so it really worked well when you saw it on screen.’

The costumes may have been originally designed for a specific production, but once the production was released the costume would be added to Cosprop’s stock collection and made available for other productions and a new lease of life. If the production had won awards for design, then the costume would be added to the exhibition collection and available for hire.

By the 80’s, Bright formed one of the most successful costume design partnerships with Jenny Beavan at Merchant Ivory with James Ivory admitting that he was ‘totally their student.’ A Room With a View (1984), starring Helen Bonham Carter and Maggie Smith, brought International success, winning them an Oscar and BAFTA for Best Costume Design. The film was a catalyst for the renaissance of the British Film industry.

“Cosprop is a treasure trove. You enter as yourself and you leave transformed into a different person on a new adventure.“

Helena Bonham Carter

Image Credit: Josie Barry, Ensembles for Helen Bonham Carter and Maggie Smith. 

Jenny Beavan said of their partnership: ‘John and I are both really good at having an instinct about character, we are so much in tune. Our goal was to transform the actors into Edwardian people.’

The costume designer Alexandra Byrne explained: ‘Merchant Ivory actors were not costumed – they were clothed and meticulously so. Their clothes are literally the equivalent of museum pieces. John and Jenny were central to bringing that period-piece genre alive for a new generation.’

The Merchant Ivory Effect – ‘high-quality literary adaptations,’ rippled through film production. Consistency in this standard of excellence was maintained in their future productions, including: Jefferson in Paris (1995) with 400 costumes, one of Cosprop’s largest productions. The Golden Bowl followed in 2000, of which John Bright said, ‘is a film I feel I got the most out of and showcases my best work. It was influenced by my favourite period of 1900 to 1910.’

Image Credit: Josie Barry, The Golden Bowl (2000). 1900’s fancy dress costume for Una Thurman’s character and the fittings’ photographs.

Within these well known film and TV productions of the 80’s and 90’s, were the equally lauded actors, lucky enough to don these magnificent creations. Some of the outfits were as recognisable as the actors themselves, so it wasn’t hard to envisage their ghostly forms owning their signature pieces.

Image Credit: Josie Barry, The Portrait of a Lady (1996). Nicole Kidman’s costumes playing Isabel Archer.

Image Credit: Josie Barry, Out Of Africa (1985). Meryl Streep’s outfit playing Karen Blixen.

Image Credit: Josie Barry, The unmistakable profile of Agatha Christie’s Poirot 1989-2013 played by David Suchet.

Image Credit: Josie Barry, Pirates of the Caribbean: The Curse Of The Black Pearl (2003).

1720s suit for Captain Jack Sparrow – Johnny Depp

The costume designer Penny Rose explained, ‘We wanted Jack Sparrow to be a bit of a rouge, slightly hopeless and very threadbare… Johnny tried on maybe two or three frock coats, some breeches and Jack Sparrow was born.’

Image Credit: Josie Barry, Pride and Prejudice (1995).

Colin Firth’s, Mr Darcy, Jennifer Ehle’s, Elizabeth Bennet and ensemble cast.

My personal favourite ensemble was the 1995 adaptation of Pride and Prejudice which, in my humble opinion, all subsequent adaptations since have paled into insignificance. The 10 million recorded viewing figures confirmed it as the BBC’s most successful adaptation. As I have unashamedly lost count of the amount of viewing hours I have indulged in this adaptation, I greeted this collection as old friends. 

Costume designer, Dinah Collin, deservedly won an Emmy for her work and it is fascinating, reading about her creative thought process behind these looks.

On Darcy, she says, ‘It was vital to think how the costumes would look to modern eyes… costumes that emphasised his masculinity… to feel like jeans and T-shirt although it’s breeches and boots.’ And who can forget the seminal ‘wet shirt,’ moment. A star in itself, sold at auction in 2024 and now on display at The Bankfield Museum in Halifax.

For Lizzie Bennet, Collin felt that she ‘…was very active… it was important that her clothes allowed her to move easily and naturally.’

I love her description of the ‘proud and conceited’ Bingley sisters, wearing ‘the period equivalent of Gucci.’

Image Credit: Josie Barry, Mrs Harris Goes To Paris (2022). 1950’s recreated Cristian Dior dress for Lesley Manville’s Ada.

Fast forward to the millennium and with the British Film and TV industry continuing their dominance in period productions, Cosprops involvement remains indispensable. Their roll call includes TV’s: Downtown Abbey, Peaky Blinders, Victoria, Gentleman Jack. On Film: The Danish Girl, Little Women, Emma, Jane Eyre, Mrs Harris Goes to Paris and Napoleon. 

Technology advancements from analogue to digital with ultra-high definition screens, magnify every stitch and button. This plays perfectly into Cosprops high standards of attention to detail and arguably only highlights the authenticity of their creations. As the appetite for period based dramas does not abate – the future continues to look Bright.

“Cosprop is a magical place that is an important part of the nation’s rich cultural heritage. It is central to the thriving period costume industry. I believe it must be treasured and celebrated while it is still in the full flush of its success.“

Dame Judi Dench

Costume Couture
Fashion and Textile Museum
83 Bermondsey Street
London SE1 3XF
September 2025 to 8th March 2026
Tickets £9.50 to £11.50