![]() ![]() In both cases, strict adherence to the slippery concept of accuracy takes a backseat to letting the imaginations of designers Kasia Walicka-Maimone ( The Gilded Age) and Janie Bryant ( 1883) run free in service of creating characters who leap off the screen. Set just one year apart in America, The Gilded Age and 1883 could not be more distinct where The Gilded Age offers a high-end, urbane soap opera à la Downton Abbey, where the fabulously wealthy main characters may wear up to three different gowns in a single day, 1883 aims for the gritty, sweaty, violent realities of Westward expansion while being limited to a single trunk’s worth of options for each character. Oláh and his team used “a pan-European approach” to source items from rental houses in Madrid, Paris, Berlin, Rome, and even rural Bavaria. ![]() To conjure 1906-1907 in Vienna Blood, he relied on an eclectic combination of photographs, vintage inspiration pieces, and custom-built original designs. That world you draw has to make sense within itself,” costume designer Thomas Oláh recently told Town & Country. “Designing for period pieces is very similar to science fiction, because you can do whatever you want, as long as it's coherent. The arcs of these series cover the 25-year period spanning 1882-1907, giving viewers a bevy of glimpses into how fashions of the era developed incrementally, and the impact of a rural versus a metropolitan setting. We’re living through such a costume drama-rich time on TV that three shows covering roughly the same period have been simultaneously airing in the U.S.: HBO’s The Gilded Age, Paramount+'s 1883, and PBS’s Vienna Blood. ![]()
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