To the right of that is:

a beige evening gown with black Chantilly lace

as worn by Iris Berben in her role as consul’s wife Elisabeth “Bethsy” Buddenbrook.

This floor-length off-the-shoulder gown of light-beige silk taffeta has a close-fitting bodice with a wide décolleté. A swathe of hand-made black Chantilly lace falls loosely over the chest, back and upper arms. Many small pleats give the wide, sweeping skirt plenty of volume.

Made by and from the collection of: Theaterkunst, Berlin

The third costume along is:

a formal suit with embroidered vest

as worn by Armin Mueller-Stahl in his role as Consul Johann “Jean” Buddenbrook.

This suit consists of a black, worsted wool tailcoat and black pants. The collar of the tailcoat is covered with black silk. Vertical stripes of silk – so-called “galons” – run down the outside leg of the pants. The white shirt has a high, soft wing collar – that is, a stand-up collar with turned-down points. Around the collar is a knotted “ascot tie” – a wide formal tie – of embroidered cream-colored silk.

The vest is also cream-colored. The broad vest lapels and the area to both sides of the button placket are adorned with intricate embroidery.

Made by and from the collection of: Theaterkunst, Berlin

The costume on the left, at the front of the stage, in the center is:

a moiré skirt and blouse with a lace upturned collar

as worn by Iris Berben in her role as consul’s wife Elisabeth “Bethsy” Buddenbrook.

This floor-length skirt with wide pleats is made from violet silk, with diagonal, stitched pleats called tucks.  The subtly pink blouse is waist-length and has a delicate light-gray pattern and fabric-covered buttons. The round collar is made of four layers of soft lace and sheer embroidered organdy. The cuffs on the wide sleeves feature decorative folds, fixed at the sides with embroidery stitches. The fabric on the shoulders and at the waist is gathered – “smocked” – with a trellis stitch, creating diamond shapes. In the center of the back is a large bow.

Made by and from the collection of: Theaterkunst, Berlin

The final costume on the left-hand side of the stage is:

a blue gown, also known as the “peacock dress,”

as worn by Léa Bosco in her role as Gerda Buddenbrook.

This long-sleeved, floor-length gown is made from an extremely lustrous satin fabric known as “duchesse.” Its color – a rich medium-blue – is called “peacock blue.” The gown has a high stand-up collar of black and gold lace, and the deep, square neckline is filled with a panel of the same lace.

The full skirt with train is held in shape by a hooped petticoat. The hem of the skirt features a wavy border made of two pleated strips of fabric, one over the other, decorated with braid interwoven with gold. The same decorated strips of fabric can be found below the elbows on the sleeves. A dark belt with a peacock-feather motif accentuates the waist.

Made by and from the collection of: Tirelli Costumi, Rome

To the right of that is:

a christening suit

as worn by Mark Waschke in his role as Thomas Buddenbrook.

This three-piece suit consists of a frock coat, pants and vest. The knee-length frock coat has gray silk on the cuffs, collar and lapels. The pants are a lighter, blueish-gray color. The gray vest with purple jacquard embroidery also has purple piping, which is a narrow tubular trim. The white shirt has a high, soft collar. Around it is a wine-red cravat with light-colored dots. A decorative tie pin adorns the knot.

Made by and from the collection of: Tirelli Costumi, Rome

The next costume is:

a taupe/indigo gown as worn by Léa Bosco in her role as Gerda Buddenbrook.

This floor-length gown has a voluminous skirt with a train. The shimmering taffeta changes color from taupe (a brownish-gray) to indigo depending on how the light falls. The narrow waist is accentuated by a blue velvet belt, narrow at the back but forming a wide diamond shape at the front. The bodice of embroidered taffeta has an upturned collar and wide trumpet sleeves with fringed cuffs. The embroidery pattern features forms that recall ferns, stars and vines. From underneath the fringed cuffs emerge undersleeves of shimmering gray organza encircled with blue silk ribbons.

Made by and from the collection of: Tirelli Costumi, Rome

On the far right is:

a ball gown

as worn by Léa Bosco in her role as Gerda Buddenbrook.

This floor-length gown was made from gleaming light-red silk damask featuring a pattern of the same hue. Around the waist is a ribbon of the same material and color, edged with a darker velvet. At the front it passes through a buckle, at the back it is tied into a large bow with ends that trail down, drawing the eye to the train at the back of the full skirt. The hem is edged with red velvet. Underneath this is a gathered border. Ruffled facing with beaded fringe and gold lace surrounds the wide, round décolleté, continuing round to the back. The short, puffed sleeves feature bundles of small bows made from ribbon and are edged with more gold beaded fringe.

Made by and from the collection of: Tirelli Costumi, Rome