Whereas, in literature a stream of recent bio-fictions have focused their efforts
on resurrecting great Edwardian authors, the first season of Mr Selfridge (2013), based
on Lindy Woodhead’s biography Shopping, Seduction & Mr Selfridge (2007), features a
capitalist hero and constitutes an intriguing object of study which connects the present
context with the history of England and of costume drama itself. Consequently, this
paper will analyse the series in terms of how it relates to and differs from other
representations of Edwardian characters, in an attempt to explore what the impulse lying
behind Mr Selfridge’s filmic return could be.
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