The Forsytes (2025), Episode 3

PBS Masterpiece brings a reimagined version of John Galsworthy’s ‘Forsyte’ novels from the U.K. to U.S. viewers. This costume drama about the complicated lives of an upper-class family, The Forsytes (2025-), features costumes designed by Nic Ede. Check out our recaps of season one on Mondays after new episodes drop on PBS each Sunday.

 

Denial is not just a river in Egypt, according to the Forsyte family, as Frances tells her husband, “this will pass.” He doesn’t seem convinced, and I’m not either.

But I don’t mind Jolyon’s lack of neck tie and unbuttoned collar here — it doesn’t look as jarring with a white linen suit as it does with a dark business suit.

Scenes cut between Louisa’s kids being sickly, Soames’ dad setting up a big plan to get Jolyon kicked of the board of the family biz because of his past affair, and Jolyon Sr. with Frances trying to convince Jo Jr. to pay off Louisa and get her to leave town with the kids.

Meanwhile, Irene gets a letter from Soames. Here’s an example of her “loose” outfits, definitely a contrast to the Foryste women. Irene is even barefoot in this scene.

The dress looks more 1900-10s to me, but I guess it could also be a riff on something like this late 1880s dress that would be worn around the house as an upper-class lady wrote letters and directed her servants (probably not the intended vibe though!).

Costume designer Nic Ede said of Irene’s wardrobe in the press pack:

“Irene is the freest spirit of all because she’s been loved and adored by her father. His death is tragic for her, and she’s left penniless. However, her focus is to become a ballet dancer, so her costumes reflect her artistic side. She’s a contemporary woman in a way that the other cast are not. Eventually she is ground down by Soames and very slowly, like Frances her dresses become her armour.”

Even so, she changes into something less frou-frou and more structured to meet Soames, where he formally proposes and gives her a big engagement ring. She kind of says yes.

The Forstye family goes to the races! Winifred’s husband Monty owns a horse and is gonna win big! Of course, he does not, because he’s a bounder.

But the fam’s all there anyway, and they think Soames is going to introduce them to Miss Carteret as his intended. So they are SHOCKED when his fiancée is this nobody Irene Heron with her grasping stepmother.

Irene’s wearing a ruffled dress in white tonal dot fabric accented with yellow bows, and I was immediately reminded of Tissot. Not as elaborate but the inspiration is there.

Frances and Jo seem happy that at least Soames’ surprise engagement stuns the family into not caring about Jolyon Jr.’s indiscretions for a moment. Frances’ yellow dress has a nice bustle shape.

Now the costume designer said he ditched the bustles (see quote in my recap for episode one), but that’s a bustle right there. It’s just about as big as would be appropriate for the 1887 setting of this series!

She’s wearing another of her little hats too:

Many of the Forsyte women’s hats so far are in something of a flowerpot shape that was common in the period — see the center and two right images in this fashion plate. I feel like someone in the millinery department got a deal on these frames and decided to use them for everyone’s hats. It’s not bad but there are other styles in the period.

Back at home, Soames’ dad is pissed about his son making an unsuitable match, while mom tries to be happy that it’s a “love match.” And just for Kendra, here’s a screencap of Emily with one of her dogs, which has TWO jeweled collars!

Winifred is the last to find out about Jolyon and Louise when she gets sidelined by the dressmaker, so the family fills her in. She volunteers Monty as another vote to shitcan Jo from the biz, as if to show that Frances isn’t the only sneaky bitch among the wives. Winifred wears another great dress to do it too.

It’s earlier than the 1887 show setting, but this extant gown has a similar look:

Now June’s out about town, going to a socialist meeting to hear Mrs. Ellen Parker Barrington (Josette Simon) speak about equality.

Barrington is based on the historical figure Sarah Parker Remond, a free Black woman born in Massachusetts who became an anti-slavery lecturer at age 16 and toured Britain between 1859-61 speaking out against racism and sexism. She stayed in the U.K., receiving British citizenship in 1865, then studying to become a doctor in 1868 in Italy, where she lived for the rest of her life.

She’s a little earlier than this show, but the sentiment is there, and I think Barrington’s speech in the episode uses a bit of Remond’s words.

June’s into it because her family would hate it, plus this is the pamphlet that her hottie from the opera handed her. That’s Philip Bosinney, a struggling architect, and they have their first date in the park.

Back at the office, the board argues about Jo Jr.’s bad reputation.

Ann busts into the meeting to remind everyone that her dowry money founded the company. Which is why they ultimately don’t kick Jo out, I guess.

Not that Jo hears — he storms out and goes right to Louisa and hangs out with their kids. Which for some reason June sees — why is she in this part of town? Just slumming it? She gets all sad and all jealous of sharing her daddy, so she runs off to Phil’s garret for cuddles. She’s not just “youthful,” she’s a big baby, ugh.

That night, Soames brings Irene home to be judged by Ann, who asks if she’s in love with Soames. Irene fakes around a noncommittal answer. Irene wears this floral evening dress (Soames wears evening clothes as is proper, not like in this promo pic).

Frances tells Jolyon’s that since he wasn’t voted off the board, he’s gotta buck up and be the business man! He doesn’t seem thrilled, and at the end of the ep he says he hasn’t “moved on” from Louisa and the kids. Frances is having none of that BS.

But the family turns out for Soames and Irene’s wedding. His mom wears a nice hat and a beautifully embellished capelet:

Winifred has a smart stripey ensemble:

Ann wears this purple suit that’s used in promo pix:

Which reminds me of this fashion plate:

Oddly, Frances’ outfit looks more 1890s than 1887 (really hard to get a clear screecap).

It’s a noticeable shift in silhouette. Compare with the green and white gown on the right of this fashion plate:

The bride, however, is still aligned with the rest of the period, just in a super stripped-down fashion.

Their wedding night is tender and soft-focus, as if they’re going to give it a real try. Millie Gibson said in the press pack that this is a different way of looking at the pair:

“Their relationship is very well known to the original fans of The Forsyte Saga but in this version we see how they actually fell in love rather than their downfall. It was really nice to explore that side of it and have fun with seeing how Soames could love. When they first meet you feel like Soames wants to be her hero, but Irene is no damsel in distress. I think she sees Soames as a barrier that she wants to break down, to access his tenderness and make him come out of his shell. And he does. I absolutely love it when they’re in their honeymoon phase, it’s really clever that we’ve been able to explore that side of them. Soames really wants to love her and it’s so sad that he doesn’t know how.”

 

How do you feel about this take on The Forsytes?

 

 

 

 

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