Costume designer Anna Robbins: “You’ve got these four beautiful women, who are really strong characters, and I wanted every single composition within their wardrobes to sit well together.
“We want it to be historically accurate and have minimised floral textiles and patterns to give it a much more austere 1950s’ post-war feel.
“But I still wanted to have graphic prints and regimented patterns to connect into the code-breaking and the fact that there are all these patterns within.
“In terms of costumes I’ve looked at the late Forties and into the Fifties, more than the new look that arrived in the early Fifties, so it doesn’t have a sense of being too optimistic, opulent or luxurious fashion-wise. Rationing was still going on and thisfilters through to the shapes of the clothing.”
“Women wouldn’t have many outfits at this time, so we’ve got a capsule wardrobe. So you’ll see things worn a couple of times at least but in different combinations so that it’s realistic.
“When you’ve got women dressed as they would have been in the early Fifties, they would have been wearing suspenders and stockings and nylons, which actually comes across as being pretty glamorous and dressed up to how we are now, with relaxed, comfortable clothing.
“Also you have to realise that people don’t change that much. They’ll create their style in their early twenties and it kind of stays. The generation carries the style through. So when you’ve got twinsets and pearls on a grandmother in this century, they will have been wearing that as a glamorous twentysomething girl in the Fifites.”