Renée Zellweger’s return as Bridget Jones in the latest film, Bridget Jones: Mad About the Boy, marks a significant evolution for the beloved character. Twenty-four years after her first appearance in Bridget Jones’s Diary, Bridget is now in her 50s, a widow, and a mother of two. This new chapter sees her navigating grief, parenting, and dating, all while maintaining her signature charm. The film, releasing in UK cinemas and on Peacock in the US on February 13, offers a fresh take on Bridget’s life, blending humor with emotional depth as she finds her way through loss and self-discovery.
Bridget Jones’s personal style has been a cornerstone of her appeal since the first film. Her quirky, sometimes ill-fitting wardrobe—think short skirts, cleavage-revealing tops, mumsy cardigans, and long scarves—cemented her place in noughties pop culture. Costume designer Rachael Fleming originally aimed for a practical, relatable look that reflected the chaos of a busy woman’s life. Fleming’s approach resonates even more today, as the world grapples with unrealistic beauty standards and the pressure to present a perfect image. Bridget’s style, with its imperfections and authenticity, has become a cultural touchstone, inspiring the “Frazzled Englishwoman” aesthetic. This look, characterized by haphazard layering and a sense of endearing dishevelment, has appeared in films like The Holiday and Love Actually and even influenced high-end fashion brands like Chanel and Miu Miu.
For the latest film, costume designer Molly Emma Rowe focused on maintaining Bridget’s authenticity while reflecting her growth. “Bridget has some nice clothes, and she tries her best, but she sort-of always gets it a bit wrong,” Rowe explained. This time, there are fewer iconic moments like the Playboy bunny outfit or the tiger-print underwear. Instead, the wardrobe is more subdued, with work-appropriate blazers and layered cardigans. Rowe retained Bridget’s flirty personality through pieces like a demure mini skirt with stockings, ensuring the character’s essence remained intact. The film also includes subtle nods to previous movies, such as an emerald green dress that references her reunion with Mark Darcy in the third film. These touches serve as a nostalgic bridge between past and present.
Rowe faced the challenge of recreating Bridget’s iconic looks with limited time and resources. With only 12 weeks to assemble the wardrobe and few archival pieces available, she thrifted items from stores like Mary’s Living and Giving in Hampstead, where Bridget’s character resides. Many of the pieces were sourced from charity and consignment shops, reflecting Bridget’s practical approach to fashion. Rowe also drew on the idea of fashion being cyclical, with Bridget revisiting outfits from years past. This approach not only aligns with her character’s frugal mindset but also highlights the timelessness of certain styles. For example, the red penguin-print pajama set from earlier films was meticulously recreated, with attention to detail like fading fabrics and breaking buttons to achieve a worn, decades-old look.
Another key aspect of Bridget’s wardrobe in the new film is its role in conveying her emotional journey. Coping with grief and its impact on her dressing was central to Rowe’s design process. Inspired by her own experience of losing her father as a teenager, Rowe incorporated oversized, comforting pieces like a bobbly gray cardigan and shirts monogrammed with Mark Darcy’s initials. These items serve as a visual representation of Bridget’s emotional state and her longing for comfort. They also add a layer of nuance not explicit in the script, offering a glimpse into her life with Mark and their children. Through these costumes, Rowe created a sense of intimacy and relatability, making Bridget’s grief and resilience feel deeply personal.
The release of Bridget Jones: Mad About the Boy coincides with a growing trend of films centered on women in their 50s, such as The Substance and Babygirl. This shift is a welcome change in an industry that has historically underrepresented middle-aged and older women, particularly in romantic storylines. According to a 2024 report by the Geena Davis Institute, female characters aged 50 and above are still limited in their presence and opportunities on screen. Bridget Jones: Mad About the Boy offers a refreshing counterpoint, presenting a complex, flawed, and deeply human character navigating the challenges of later life with humor and grace. For Rowe, the film is about empowerment and vulnerability: “To be a woman approaching or in her 50s and having these kinds of films to watch is very inspiring.” Bridget Jones: Mad About the Boy is not just a return of a beloved character but a celebration of women finding their way in a world that often overlooks them.
