Costumes meant to ‘wipe out bleakness that we live in now’

To create the outfits for Shonda Rhimes’ first Netflix series, Emmy-winning costume designer Ellen Mirojnick put her own spin on Britain’s Regency-era fashion.

“Bridgerton,” a soapy, seductive period drama premiering Friday, looks a little Disney-princess and a little Jane Austen, with more than a few bodice-ripping romps tossed in for good measure.

“It’s sexy and fun and adorable,” Mirojnick told the Daily News. “It’s frothy and aspirational at the same time. This doesn’t necessarily equal the Regency period of 1813.

“What we had to do was basically shift the period. Not make it another period, but create it in a way that it would be aspirational, that it would appeal to everyone who watched it now. We’re twisting the period to a bit more of a modern element.”

For star Phoebe Dynevor, who plays the charmingly naive Daphne Bridgerton, Mirojnick and a flurry of cutters, stitchers and embroiderers created 104 costumes for just eight episodes. They include ball gowns, everyday dresses and sleepwear — and it’s all hand-sewn and hand-stitched.

The Bridgertons — led by matriarch

Characters in “Bridgerton” including Phoebe Dynevor (l.) and those below are dressed for dramatic success.

Lady Violet (Ruth

Gemmell) and an overwhelming number of young peoplee waiting to marry orr be married off — aree classy and dignified,, dressing in pastelss and perfectly coiffed,, except for rebelliouss daughter Eloise, playedd by Claudia Jessie.

The Featheringtons are the complete opposite, an overdone eyesore of yellows and greens.

“There’s an old expression from Chanel: look at yourself before you walk out, and take one piece off,” Mirojnick told The News. “The Featheringtons put one more on.”

“Bridgerton” is a big world, and that was the first thing that stood out to Mirojnick when she and showrunner Chris Van Dusen first got to work on the London-set show.

“Every single piece of clothing, head to toe, inside out, had to be made new,” she said.

The main cast totals two dozen named characters, everyone from the new couple (Dynevor and Rege-Jean Page) to the queen (Golda Rosheuvel). And the costumes tell as mmuch of a story as the scripts.

Eloise refuses to let her hem down, holding on to the last clutch of childhood before she’s forced into the marriage market. The local opera singer, one of the few autonomous women in town, flaunts her natural gifts. The men, the cool ones who know they don’t need to try too hard to find a woman, wwear their shirts rolled up and vests undone.

“From the most traditionally beautiful to the fantastical of Penelope’s butterfly dress that she wears to the first ball, it’s just so ridiculous,” Mirojnick said.

“I want [viewers] to get swept up in the romance and swept away into this other world ... just wipe out the bleakness that we happen to live in now.”