“Another part of why I think this green dress resonates so much is that it’s a real collaboration. The thing is, to make a dress that bold everyone has to be committed to it. Seamus [McGarvey], the DP, has to be committed to shooting that dress in an iconic way. It has to fit Keira in an iconic way. Joe has to want it to have a function like that. The real secret of the green dress is its function in the movie. If it hadn’t had that function, it could’ve been a dress that comes and goes, really. But because it has such a pivotal moment — or she’s wearing it at such a pivotal moment — and Seamus and Joe have shot it in a way, and Keira looks so good in it, I think it’s just this perfect storm of things all going right at the same time. There’s a shot of her standing, smoking outside — this side shot — and the dress is quite well laid out. It’s a great shot; it has a real ’30s glamour but it’s also a bit more modern. It just captures what we were trying to do in the movie. You can make a really brilliant dress but, and I’ve seen this in other films, the actor’s only shot from the waist up. Unless you frame it in a way that’s really going to sell it to its best advantage, it’s never going to have the impact it could have. Seamus shooting it in the full-length way and it being lit so beautifully is what sets it up.” — Jacqueline Durran, costume designer for Atonement (2007) dir. Joe Wright
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