Latest / The Art of Costume Podcast / The Gilded Age S2 with Costume Designer, Kasia Walicka-Maimone

Transcript

The Gilded Age S2 with Costume Designer, Kasia Walicka-Maimone · The Art of Costume Podcast

• 0:11
  When we read the script and it started this, so we all just had
• 0:15
  this big laugh and we made a one of the characters that was taken
• 0:20
  from the research, the size of it, and it did not fit in the
• 0:24
  frame of the doorway. So we had to chop it off the
• 0:29
  door. We all looked at each other.
• 0:30
  I was like, Oh my God, this one's too far.
• 0:32
  We need to scale back a little bit.
• 0:43
  Hello and welcome to the Art of Costume podcast.
• 0:45
  I'm Elizabeth Joy Glass. And I am Missus Russell's valet,
• 0:49
  Mr. Williams, but you could also call me Spencer.
• 0:52
  Hello Spencer, you would make a great valet.
• 0:55
  Like I feel like you'd be like top tier.
• 0:57
  Never be out of a job. Yeah, if it's like valet in the
• 1:01
  terms of like, I feel like in a Gilded Age, it's a bit
• 1:05
  different. You kind of do a little bit of
• 1:06
  everything. And then there's, you know,
• 1:08
  modern day valets that are driving cars will not be good at
• 1:12
  that. I I do not enjoy parking, but I.
• 1:15
  Would definitely serve. Yeah, yeah, yeah.
• 1:18
  Like planning the parties, introducing people.
• 1:22
  Helping her pick her outfits, stand out her door and just try
• 1:26
  not to smile, Looking at her lovingly.
• 1:31
  Oh, yeah, but you got to keep that stoic look on your face.
• 1:34
  Yeah. Oh.
• 1:38
  Elizabeth. How's it going?
• 1:41
  It's going, it's just, it's been a busy time.
• 1:44
  You know, it's award season. So I've been busy, busy, busy
• 1:48
  doing all of that. Elizabeth, we have a fun episode
• 1:53
  in store, but before we get into it, it's, I think we need to
• 1:58
  take some time to dive into our inbox a little bit.
• 2:00
  We have a lot of feedback to go through.
• 2:02
  Yes, yes, please. It's it's been a minute.
• 2:05
  It's been a minute. Well, first, our Fallout bonus
• 2:10
  episode just came out recently with costume designer Amy
• 2:13
  Westcott. Have you finished Fallout yet?
• 2:16
  Oh yeah. I finished.
• 2:18
  It I finished it the other day. Yeah, it.
• 2:21
  Was good. It was good.
• 2:25
  I, I'm obsessed with it. I mean, everyone who listened to
• 2:27
  the episode knows I'm obsessed with it.
• 2:29
  I I won't be surprised if we lost some listeners after the
• 2:33
  the nerdy levels I was giving off on that episode.
• 2:37
  But for this first comment, it's actually coming from our
• 2:41
  YouTube, which I got to say our YouTube is kicking off.
• 2:45
  So if you all like to see some pictures of our episodes, head
• 2:48
  over to our YouTube page. We're posting shorts Daniel's
• 2:52
  posting videos of our episodes. Definitely worth to watch.
• 2:56
  Those episodes come out on Wednesdays at the moment, but
• 3:00
  you know, with the channels moving and grooving, so there
• 3:03
  might be some changes soon. So the first comment about
• 3:07
  Fallout is from at Kristen 3060 on YouTube and they said I'm a
• 3:12
  costume designer and I'm enjoying this interview while
• 3:15
  playing Fallout 76 at the same time.
• 3:18
  Thank you for this channel. I love it and.
• 3:21
  That's so nice. Thanks, Kristen.
• 3:23
  I yeah, I I actually do listen to podcasts while I play games
• 3:27
  sometimes, but only like the nice easy games 'cause my
• 3:31
  attention span isn't that strong.
• 3:33
  Like while you're doing some Stardew Valley farming.
• 3:36
  Oh, Oh yeah, yeah, that's the ticket right there.
• 3:39
  Right, right. On TikTok Ajs concepts said such
• 3:46
  a great job especially in a vault tec suits.
• 3:49
  Awesome textures and distressing.
• 3:52
  What did you think of the vault suits, Elizabeth?
• 3:55
  Oh my gosh, I thought they were so cool.
• 3:57
  I thought I thought they were great.
• 4:00
  They they like balanced like this hyper stylized like concept
• 4:07
  of like the 50s and 60s with some something very realistic
• 4:13
  and it just worked. It really just worked the whole
• 4:16
  time. So I I loved it, especially the
• 4:20
  vault tech suits. They they were so funny.
• 4:24
  But then when she got into the wasteland and it like evolved
• 4:28
  over time, I was like, you go girl, you look that ass in that
• 4:31
  suit. Yeah, they're really cool and I
• 4:34
  was excited to see how they would do them because in the
• 4:36
  games, you know, like Amy mentions an episode, they're
• 4:38
  very flat and just form fitting so they they look ridiculous in
• 4:43
  the suit. So I was interested to see how
• 4:45
  they would bring it to life. And I love just the use of
• 4:48
  texture and that like leather pleating they did on the arms, I
• 4:53
  thought made it kind of edgy too.
• 4:55
  And just, I don't know, a little bit more realistic.
• 4:57
  And I really want one honestly, that might be a Comic Con Look,
• 5:02
  It's, it's easy. It looks good, you know.
• 5:06
  And then we got 1A, we got A11 costume to rule them all.
• 5:11
  And this one is from Stabo Krabo, and their one costume to
• 5:16
  rule them all was just a power armor.
• 5:18
  Which I gotta say is a good one because I cannot believe those
• 5:21
  things are real. Every time I see them it just
• 5:24
  blows my. Mind, yeah, that's like hard to
• 5:27
  wrap your head around that. Those exist.
• 5:31
  It's wild. Could you imagine having one
• 5:34
  like at home just walking around the house in it?
• 5:36
  No, I couldn't. I could not.
• 5:40
  I'm so jealous. Let's actually go to another
• 5:44
  bonus episode, the Shogun episode where we have costume
• 5:47
  designer Carlos Rosario. Have you finished Shogun yet?
• 5:50
  I have not finished Shogun. I got caught up in Fallout and
• 5:55
  forgot about Shogun. That's the problem with this
• 5:59
  podcast. There's just too much.
• 6:00
  Too much. Well, I love the conversation
• 6:04
  with Carlos Rosario. I think he's so talented.
• 6:06
  And actually a lot of the messages we got were from other
• 6:10
  costume designers such as Jenny Tamim, who did the costumes from
• 6:14
  House of the Dragon. She commented saying beautiful
• 6:17
  costumes, just an incredible job, which I have to agree.
• 6:21
  And that's coming from Jenny Tamim, who's done Harry Potter,
• 6:24
  House of the Dragon, so on, so forth.
• 6:26
  So and then, of course, Aggie Rogers messaged him just saying,
• 6:31
  Carlos, dude, you rock. Like, yeah, that's sweet.
• 6:37
  We got another one. Costume ruled them all from
• 6:39
  Olivia of Sweden. They said their favorite costume
• 6:42
  was actually Toranaga's Peacock armor.
• 6:44
  I'm not sure if you've gone to that armor yet, but once you see
• 6:47
  it. Will I know what it is?
• 6:50
  I think you will. It's a good one.
• 6:54
  And then someone else commented on Instagram about Mariko, who
• 6:59
  is one of the main characters from the show.
• 7:02
  She's a translator. Author Walt Muscle on Instagram
• 7:07
  said I saw Mariko's individual pieces as singular poems.
• 7:10
  I missed our Carlos Aligny's costumes with Mariko's character
• 7:14
  arc and create an epic. That was fascinating and gotta
• 7:18
  agree. I mean, the fact that costume
• 7:20
  designers are able to tell such like intricate, sometimes under
• 7:25
  the surface stories with the use of color and textures and
• 7:29
  silhouettes is amazing to me. And Carlos is great at it.
• 7:34
  Yeah, you'll, you'll definitely see more as you finish the show,
• 7:37
  but we'll, we'll follow up with you.
• 7:39
  Yes. Oh, you all know when I finished
• 7:41
  it. Yeah, and then Elizabeth, we
• 7:45
  have to talk about the mummy. And as expected, the inbox was
• 7:49
  packed full of messages about our mummy episode that we can't
• 7:54
  even get through all of them. There's just so many.
• 7:57
  So what I have gathered is but everyone just finds everyone in
• 8:02
  this movie to be just incredibly too hot, too sexy, no one can
• 8:08
  handle it. I mean accurate.
• 8:12
  On Instagram at Miss Morningstar said this movie is a reason why
• 8:17
  my standards are too high and. I I agree, I think.
• 8:23
  I think that's I have that problem too.
• 8:28
  Marsh's Love on Instagram said the obsession for this film was
• 8:31
  endless. Got to the point I could recite
• 8:33
  the whole script by ear. Truly obsessed. 11 year old
• 8:37
  here. I'm like, yeah, that's fair.
• 8:40
  I could probably, I don't think I could recite it word by word,
• 8:44
  but I, I don't know. It's a good test.
• 8:48
  I might have been able to do it in like middle or high school.
• 8:51
  Maybe not the whole thing, but like good good chunks of it.
• 8:54
  Yeah, I mean we took a little mummy break, which is why this
• 8:57
  episode was so exciting 'cause we got to get back to our get
• 9:01
  back to our happy place, as one would say.
• 9:04
  OK love this comment made me die.
• 9:09
  Cherish Richardson on TikTok said.
• 9:12
  The way I used to think about Emo Tep's thighs, he was out of
• 9:19
  control and that's all it says. That's fair.
• 9:40
  Very fair. That's that's fair.
• 9:43
  It got the comments, got so horny at one point that I I
• 9:48
  noticed three or four people signing on to essentially a
• 9:51
  thread or a letter to Arnold Voslu just petitioning you and I
• 9:56
  to somehow contact him and just let him know he's hot.
• 9:59
  So that's happening. I.
• 10:02
  Mean. If he doesn't know that already,
• 10:05
  I'd be surprised, but. Look, if we had that poll of
• 10:09
  Arnold, he would be a regular on the podcast.
• 10:12
  I'm just saying bon my case on bath and their comment just said
• 10:18
  damn daddy emo tip. I don't think you all are
• 10:22
  talking much about the costumes, which is the point of all this.
• 10:25
  But that's fine, we'll make an exception.
• 10:28
  Yeah, yeah, this is the one exception.
• 10:32
  Yeah, and then we got 21 costume to rule them alls from our
• 10:36
  Instagram channel page. Robert JC Pugh said their
• 10:41
  favorite costume was Evie's boat look.
• 10:44
  It was flawless. And yeah, I mean, that's a good
• 10:47
  one. And then Jedi Manda said Evie's
• 10:52
  library look was their favorite costume.
• 10:55
  So, yeah, And at the end of the day, yeah, I think Evie really
• 11:00
  is the one to be in terms of the one costume to rule them all.
• 11:04
  If you want to start getting it to the hottest conversation,
• 11:07
  then it just gets more complicated, but.
• 11:09
  That's like I you can't compare any of them to one another.
• 11:15
  Like it's just, it's too complicated.
• 11:18
  Yeah, it's too complicated. It's too complicated.
• 11:22
  But alas, it was fun nonetheless.
• 11:25
  So thank you all for writing in. We love reading your messages,
• 11:28
  even if they're just. If you need to get out your
• 11:31
  horny internal thoughts about Emo Tep, that's fine.
• 11:34
  I mean, we're here for it. Oh sorry, the thighs comments,
• 11:41
  you still got me. Yeah, I was expecting to hear
• 11:49
  that on the Gilded Age episode, Elizabeth Three.
• 11:53
  Today's episode, highly anticipated.
• 11:57
  What are we talking about? This week we watched The Gilded
• 12:02
  Age. Probably like this is top five
• 12:06
  of like my favorite shows currently on TV.
• 12:10
  Oh, it's the absolute best we So this is our second Gilded Age
• 12:14
  episode. Actually, we're talking about
• 12:16
  season 2 today. So we there's already an hour's
• 12:19
  more than an hour's worth of us talking about this show.
• 12:22
  I was gonna. Say that was a long one, that.
• 12:25
  Was a long one and it's about to get even longer 'cause we both.
• 12:29
  I just think this is a perfect show.
• 12:31
  I just don't get why more people aren't watching it.
• 12:33
  It's flawless. It really is.
• 12:36
  And it's like, I, I think I've, I know I've told you this
• 12:40
  before. I don't know if I said on the
• 12:41
  podcast though, it's like low stakes drama.
• 12:46
  It's like all the intensity of drama, but the stakes are so low
• 12:52
  'cause the majority of it is just like these rich people
• 12:55
  problems that you can just like relax and be like, Oh my gosh,
• 13:01
  do people really live like that? The majority of this show, the
• 13:07
  idea of like, it's not about the destination, but the journey.
• 13:10
  That's really all the drama. No one cares who wins the opera
• 13:13
  war. You just want to watch them
• 13:15
  fight. Absolutely, Absolutely.
• 13:19
  I don't care how many times Missus Van Ryan complaints that
• 13:26
  her niece is working, I just wanna see what they're wearing
• 13:29
  while they argue it out 'cause they both look beautiful.
• 13:33
  Yeah, they kill it every time. Man, We've been talking about
• 13:37
  this episode for a while. I think we should just get into
• 13:40
  it 'cause obviously we have a lots of, lots of thoughts and
• 13:43
  feelings this episode. I'll start off with a summary,
• 13:47
  if you don't mind. Lady Elizabeth.
• 13:49
  Not at all. All right, the American Gilded
• 13:53
  Age was a period of immense economic change, great conflict
• 13:58
  between old ways and brand new systems, and huge fortunes made
• 14:03
  and lost. In season two of the Gilded Age,
• 14:06
  Bertha Russell inches toward a leading role in society, Marion
• 14:10
  Brooke started teaching, Ada begins a new courtship, and
• 14:14
  Peggy taps into her activist spirit.
• 14:17
  And that is a very tiny summary for a very long, perfect season
• 14:22
  of the Gilded Age. Absolutely.
• 14:25
  Go watch it, it's so much fun. If you like this our podcast,
• 14:32
  you're gonna love this show. Right.
• 14:35
  It was everything we love. It's just good costumes, people
• 14:40
  arguing, arguing while holding glasses or or teacups and
• 14:45
  teacups. And champagne flutes.
• 14:48
  Yeah, and throwing shade. Oh yeah, Elizabeth, let's do it.
• 14:52
  Let's do it. Let's go.
• 14:54
  Behind the costumes we have creator Julian Fellowes and
• 14:58
  costume designer Kasha Waleska Mamona.
• 15:02
  You will know her work from Capote, for which she got a
• 15:05
  Costume Designer Guild Domination, Little Manhattan,
• 15:09
  Moneyball, Moonrise Kingdom, Bridge of Spies, A Quiet Place,
• 15:15
  Ready Player 1, Quiet Place Part 2, and the Wonderful Story of
• 15:21
  Henry Sugar. And of course, today we're
• 15:25
  talking about the Gilded Age, for which she got another
• 15:28
  Costume Designer Guild nomination.
• 15:31
  Yeah, she, I mean, she's racking in these nominations.
• 15:34
  She has two for the Gilded Age. Oh yeah, one for each season,
• 15:37
  right? Yeah, yeah, she's killing it
• 15:41
  then. I mean, I'm such a big fan of
• 15:43
  Kasha Woliska Mamona and you and I have been talking about
• 15:49
  talking to her for a long while about these costumes.
• 15:53
  And some of you might not know, but I do a lot of the outreach
• 15:57
  on the show. And I've been searching far and
• 16:01
  wide to get Kasha on the podcast.
• 16:04
  It was rough. I couldn't find her.
• 16:06
  It saved my life. And one day I was at a party and
• 16:10
  I happened to be talking to our friend Christine WADA.
• 16:13
  And I was introduced to someone and it happened to be 1 Kasha
• 16:16
  Walliska Mamona. So I'm so excited to say that we
• 16:21
  became fast friends and she agreed to join us today on the
• 16:25
  podcast Elizabeth. We're gonna take a little break.
• 16:28
  And when we come back, we're gonna be joined by the the myth,
• 16:32
  the legend, Kasha, Walliska, Mamona.
• 16:35
  I can't wait. I'm so excited the.
• 17:03
  I am so excited to introduce costume designer Kasha Waleska
• 17:07
  Lamona. Hey Kasha, how are you?
• 17:11
  Hi, thank you so much for having me.
• 17:13
  I'm thrilled to be on your podcast.
• 17:14
  Thank you. We're so excited to talk to you.
• 17:16
  We've been talking about you and your work for a long while.
• 17:20
  And Elizabeth, I didn't even tell you I saw Kasha at the
• 17:24
  costume awards. I was talking to Christine WADA.
• 17:26
  And Christine was like, oh, have you met Kasha before?
• 17:30
  And I almost, like, spit my drink out, like, I've been
• 17:33
  looking for you. Yeah.
• 17:38
  Well, we have a lot of questions, so I'll just jump
• 17:40
  right into it. I first want to begin with the
• 17:43
  overall picture. The Gilded Age takes place
• 17:45
  during the late 1800s, a fascinating period in history
• 17:49
  that we have also come to know for its progressive styles and
• 17:53
  trends. So when you started a Gilded
• 17:55
  Age, can you tell us about your research and how you came to
• 17:58
  prepare for this project? For me, every projects process
• 18:03
  starts with reading the script and analyzing the script on
• 18:09
  figuring out what is it. What are the steps that I need
• 18:12
  to take to discover what is the underlying language, visual
• 18:15
  language for all the characters? What is the world that we are
• 18:19
  discovering? And after the first initial
• 18:21
  discussions with the writer, director, I dive into deep
• 18:26
  research. I work with the researcher
• 18:28
  Susanna Gilbert. I've she's worked on the other
• 18:30
  project with me for many, many years.
• 18:33
  And she started building a library, visual library of the
• 18:37
  period, which by now, after second season, has about 36,000
• 18:44
  images, maybe 40,000 images of the period of the paintings,
• 18:49
  drawings, fashion magazines, photographs.
• 18:53
  It's a giant library. We also were lucky to get access
• 18:59
  to several museums, which during pandemic documented their
• 19:05
  collections in the spectacular way.
• 19:08
  Right now you can have access to most of the museum's libraries,
• 19:11
  costume libraries with those spectacular views of all the
• 19:16
  dresses from every every angle. We can see clearly every detail.
• 19:22
  Unlike in previous years when you had to make an appointment
• 19:26
  in a museum and wear white gloves and maybe get to see five
• 19:31
  or six dresses at one of the session.
• 19:33
  Right now we have access to all the museums.
• 19:37
  Most of the museums did digitize the their files and after that
• 19:43
  initial understanding and learning of the of the period,
• 19:48
  we start with the creative start forming the language of what is
• 19:51
  it that it needs to be. And in the Gilded Age, very
• 19:55
  clearly, it became very clear to me and I proposed this to to all
• 20:01
  of our parties that we needed to find a language of excitement of
• 20:05
  that period. That period was so exceptionally
• 20:10
  new for its time, so. Of course with the variation
• 20:14
  between, I mean that as the world, that the world is so
• 20:16
  varied, there was so many variety of, of approaches in
• 20:21
  that period. But there was this, there was
• 20:24
  definitely newness that that I was very much excited to
• 20:29
  discover. And that meant creating a
• 20:35
  language for that period that we, the modern audience felt
• 20:40
  that it was a new language. So how do you do it?
• 20:45
  If we, the contemporary audience, we've been programmed
• 20:49
  by the last hundreds of years of, of fashion, the the history,
• 20:56
  the fashion and the current fashions that we are still
• 20:59
  affected by the 20s, thirties, 40s, fifties.
• 21:01
  We know who is John Daliano. We understand the spectacular
• 21:06
  world of fashion that is around us.
• 21:07
  We do understand Christian Dior, we understand all those great
• 21:11
  designers that brought so much freshness to our perceptions of
• 21:14
  what is exciting. So I thought that in order for
• 21:18
  us to feel this newness of the period of the Gilded Age, we
• 21:22
  have to put a little bit of the prism of the modern eye in
• 21:26
  looking at the period and, and figuring out how we're going to
• 21:30
  look at that period to find the pieces that really evoke this
• 21:33
  feeling of excitement. And I think that that started
• 21:38
  this process of the selection and pre selections and, and
• 21:42
  manipulation of colours. And, and we also knew we are not
• 21:47
  making a documentary. We are following a story,
• 21:50
  fictional story that is based very much on the real event,
• 21:55
  inspired by real fans that a story that stays within the
• 21:59
  framework of the period, but still creates a new language.
• 22:04
  So that was the process of discovery of how to how to blend
• 22:08
  all of those ideas that I just mentioned into, into one
• 22:12
  consistent vision. And so I think that's the that's
• 22:17
  the design part of the process of, you know, many discussions
• 22:22
  with all the creators, many discussions with the actors and
• 22:25
  many discussions with my team. Because after the initial design
• 22:31
  process, there is the giant task of how do you execute project
• 22:36
  like that? But.
• 22:39
  I can't even imagine because there's so many different
• 22:42
  characters, so many different storylines happening, and so
• 22:45
  much of this series is focused on the divide between the old
• 22:49
  elite who grew up with money and social power, and then a new
• 22:52
  wave of New Yorkers. How do you portray that contrast
• 22:56
  through costume? For example, we have Agnes Van
• 22:59
  Ryan and Missus Astor compared to Miss Russell, who I'm going
• 23:04
  to talk about quite a bit later. But so how do you find that line
• 23:08
  between these two groups of people?
• 23:11
  It's again, a lot of building of the world of characters.
• 23:14
  That's what we as costume designers, that's where we, we,
• 23:18
  we are trained to, to portray, to create those worlds for each
• 23:24
  character, to to find a language that is very particular to each
• 23:30
  person and very different from each other.
• 23:34
  And I feel costume represents like so many anthropological
• 23:40
  discoveries. Every character presents a world
• 23:45
  in the costume. We we understand the history of
• 23:49
  each character by by looking at those people, at looking at each
• 23:53
  character. And that's a lot of study of
• 23:57
  where does Agnes live? What is her background?
• 24:02
  What is her financial status? What is her social status?
• 24:07
  What is her character? Is it demure?
• 24:10
  Is it romantic? Is it playful?
• 24:14
  We know she's not romantic. She's not playful.
• 24:16
  She probably was one day. And there was.
• 24:21
  Maybe. Maybe there was.
• 24:23
  There was definitely a wealth of history that that I need to
• 24:29
  represent with each character. And I think this is the fun part
• 24:32
  because you also don't tell it all.
• 24:33
  You leave. You leave some speculation for
• 24:36
  each of them character, because we don't know fully.
• 24:39
  We don't we don't display all of the details.
• 24:42
  A lot of it is the surprises as we, as the plots develop and you
• 24:46
  rely on a lot of a lot of like historical concepts of what,
• 24:51
  what is the old guard? What is the new guard?
• 24:53
  And, and how do we as society understand color, how we
• 24:58
  perceive color, how we subconsciously react to colored
• 25:01
  patterns, to geometry? We have that information coded
• 25:05
  in us. All of us are coded.
• 25:06
  We know what the yellow means, we know what deep red means.
• 25:09
  We know what dark green means is very specific of frame.
• 25:14
  So it is about finding this language like a puzzle for each
• 25:20
  character of what is the information in each character.
• 25:24
  And that's the most fun part, like the developing of the
• 25:28
  characters, finding the, the skins for each character is
• 25:31
  really fantastic. I rely heavily on the research.
• 25:34
  The research is always the base of how I create visual boards,
• 25:39
  how I create the first responses, because that's how I
• 25:42
  communicate with the directors. That's how I communicate with
• 25:45
  the with Julian, that's how I communicate with the directors
• 25:47
  of photography, with the production design and with my
• 25:50
  team. And then from those three, from
• 25:53
  that research, the characters start to emerge.
• 25:56
  So the beginning, the first season was very challenging
• 25:58
  because we were developed popping all the characters were
• 26:01
  had to be developed. So you're finding out, finding
• 26:04
  out the history of each character and building up the
• 26:07
  world's. It's like building, it's like
• 26:09
  playing it's building. It's it's loading up the each,
• 26:13
  each world that we have endless amount of design boards and
• 26:16
  loading up those boards with images There's.
• 26:18
  So many characters too. So many characters, and the
• 26:21
  characters kept emerging and emerging.
• 26:23
  A library of the design boards. Massive.
• 26:25
  Now I think it's like a separate room with many shelves of the
• 26:29
  big design boards, but that were that's always my tool.
• 26:32
  The design boards are my tool of communications.
• 26:35
  And then from that there is on the 1st season we had two
• 26:38
  illustrators because it was so busy that there was no way
• 26:42
  anybody wanting illustrator on me could keep up with the
• 26:44
  drawings because we literally had to create hundreds of
• 26:47
  characters. On the second season, I was
• 26:49
  doing my own very rough sketches which were which my team learned
• 26:53
  how to read those fast sketches and then we were building
• 26:57
  fabrics on top of it and, and learning from what we learned in
• 27:02
  the first period. We're learning how to build the
• 27:06
  how to further build on the knowledge of the first period.
• 27:09
  Amazing, I'm already like living for this.
• 27:16
  Yeah, and I love that Season 2 starts off with us seeing all
• 27:19
  these incredible characters and. That was fun.
• 27:24
  Yeah, this Easter scene is just incredible.
• 27:28
  How did you and your team pull this off?
• 27:30
  Wow, this is first of all, I have to speak about the team,
• 27:33
  because discussing this project without discussing the team
• 27:38
  would be sacrilegious. It is an army of us who are
• 27:43
  making this an army of extraordinary talented people.
• 27:47
  I am so lucky to be in the room where the most talented people
• 27:52
  in this country. That's what I think, and it is
• 27:56
  people who are instrumental in executing this project.
• 27:59
  Patrick Wiley, Isabel Simone, Caroline Spitzer, Becca Freund,
• 28:05
  Gregg Poplix Subakua, Denise Andres, Rebecca Levin, and all
• 28:11
  those people have teams of people.
• 28:13
  So it is this army of super talented, super, super talented,
• 28:20
  experienced professionals who are so passionate and so
• 28:25
  supportive of this project that, you know, brought all of their
• 28:30
  expertise, brought of all their sources, brought the connections
• 28:34
  of how this project was, how it was possible to make this
• 28:38
  project happen. We worked with the makers in New
• 28:40
  York. We worked with a lot of makers
• 28:43
  and costume houses in Europe. And I think that there was this
• 28:48
  wild enthusiasm that spread between everybody that was
• 28:51
  involved, the embroiderers, the millionaires, of course, the
• 28:55
  millionaires. How can we talk about the same
• 28:57
  without them talking about? We could do a whole podcast
• 29:00
  about. Them there is this we we are so
• 29:03
  excited. We are going back to season 3
• 29:05
  and 98% of people are coming back and and there's we just all
• 29:10
  have big smiles. It's very challenging job.
• 29:12
  It's extraordinary, keeps us on our toes, but it's also being
• 29:18
  allowed to participate in this level of creativity and being
• 29:23
  part of this explosion of creativity creates this
• 29:27
  infectious energy that we all share because it is really being
• 29:34
  close to this creative source is extremely rewarding.
• 29:40
  When you saw the script for the Easter scene where you just, I
• 29:43
  could imagine your head must have been spinning.
• 29:46
  I think that we, when we read the, when we read the scripts
• 29:52
  and they start with, they start, we all just got this big laugh,
• 29:55
  laughter, big moment of just like we looked at each other and
• 29:59
  they started laughing. And very quickly into the
• 30:02
  research. And the first thing that I
• 30:05
  realized from the research was the size of the hats, you know,
• 30:09
  and that that idea of those hats, it still continues.
• 30:13
  I mean, we still see elements of those hats in pockets of the
• 30:17
  society in the States. And I think there was this
• 30:21
  amazing discovery. I also realized that in the in
• 30:25
  between the 1st and 2nd season that in the first season we had
• 30:30
  to train ourselves. So the we had to train our eyes
• 30:34
  and, and, and be and almost like prepare ourselves for what was
• 30:39
  coming in the second season in the reality those hats were that
• 30:43
  big. And I think it just took so much
• 30:47
  courage to go for it because those are enormous.
• 30:52
  And I went even bigger in the in the test trials, like we made a
• 30:57
  for one of the characters that was taken from the research, the
• 31:01
  size of it and it did not fit in the frame of the doorway.
• 31:06
  So we had to chop it off. We all looked at the times like,
• 31:11
  Oh my God, this one too far. We need to scale back a little
• 31:14
  bit. So and it also about finding the
• 31:16
  proportion right. But it makes sense for us, the
• 31:19
  contemporary and for the doors frames and how we can film the
• 31:24
  scenes without covering all of the faces.
• 31:26
  But so the Easter was so there was the discovery of the hats
• 31:30
  and also we knew that it has to be the spectacular extravaganza
• 31:34
  that is the whole town is going to the service.
• 31:38
  And this is also the display of the old, old world, the new
• 31:42
  world, the servants, the the black elite church.
• 31:47
  It's a giant, giant scene. We were, we had enough time to
• 31:51
  prepare for the scene and it was a spectacular fun preparing for
• 31:56
  the scene. I mean, I played around very
• 31:58
  much with the Easter colors. I mean, this is all it's Easter.
• 32:01
  We all know what Easter means. And from the research, I also
• 32:06
  played off from, from research from later periods of the colors
• 32:11
  of Easter, of the celebrations of Easter and fed in because I
• 32:15
  mean, there's definite element of speculation that you have to
• 32:18
  do while doing research because not everything is documented.
• 32:22
  There was actually a death period.
• 32:23
  We didn't have that much documentation of the colors
• 32:25
  other than some photographs and drawing inspirations even from
• 32:30
  packaging of candies for Easter. Just a lot of influences of what
• 32:36
  we needed to feed on the atmosphere and the colors and
• 32:41
  the spectacularness of Easter. So fun I could rewatch that
• 32:47
  episode over and over and over. Absolutely.
• 32:51
  And All Good on Age is obviously a very much an ensemble series.
• 32:56
  It's really Marian Brooks story that kind of guides us through
• 33:02
  as she drifts between, you know, her aunts and new money New
• 33:06
  York. Can you tell us about how her
• 33:09
  costumes help tell this her story?
• 33:14
  Marian. We know that Marian comes from a
• 33:17
  small village. She grew up without her mother,
• 33:21
  so without the guidance of a female figure.
• 33:26
  She is, she has naturally sense of great style.
• 33:33
  And I think that people are born with a with a sense of great
• 33:38
  style and she is one of those people.
• 33:42
  And then exposed to New York, she trains her eye to develop
• 33:47
  that sense of style. I think we all are born with
• 33:51
  certain responses of what we like and what we don't like.
• 33:56
  So I think maybe I take it back to the idea of great style.
• 33:59
  I mean, that's very, very subjective because we all might
• 34:02
  have different opinions about it.
• 34:04
  Actually, in her case, in her character, I call it great style
• 34:08
  because she, for me, somebody who has great style is they know
• 34:12
  themselves and they hold their own opinions strongly with
• 34:19
  within the new influences. And I feel like Marian does that
• 34:22
  pretty well, except that at some point at the end of season two,
• 34:27
  I think being exposed to the New York and being pretty much in
• 34:31
  between the two worlds of the old money and new money.
• 34:34
  We felt that at Saint Mariani starts to experiment with
• 34:37
  fashions. And maybe it's not the most
• 34:41
  natural match for her, who she is.
• 34:44
  And we felt with the director that it's OK that she misses
• 34:48
  here and there because that's because that's OK too for
• 34:50
  somebody young who is developing the sense of style.
• 34:53
  I think that I started with her with this very delicate patterns
• 34:57
  of flowery patterns that I designed for her character that
• 35:03
  were just beautiful fabrics, very much inspired by period
• 35:08
  patterns and work with our team to develop those beautiful
• 35:11
  prints and a lot of softer colors.
• 35:15
  She starts also in mourning those that one of the outfits
• 35:18
  here this and we know her father died and 1st she starts in the
• 35:22
  full morning in black and then goes to half morning which is
• 35:24
  grace with black and purple with black.
• 35:29
  Then we quickly take her out of the morning because that's what
• 35:32
  the family decides that she as a lady coming into the society,
• 35:36
  she can not be in mourning because that will be making her
• 35:41
  less, less present in the society.
• 35:45
  In season 2, we find Marian discovering her professional
• 35:50
  bathroom. She's a teacher.
• 35:51
  So that was also an adjustment of how to adjust her romantic
• 35:57
  clothing, dresses to to costumes that represent a young teacher.
• 36:04
  And there is certain level of elegance and respect in her
• 36:09
  clothing, her professional clothing.
• 36:11
  At the same time, I very much played with her ball gowns.
• 36:15
  I mean her ball gowns, I feel like a dream.
• 36:17
  And it's and they're just so beautifully constructed by Eric
• 36:22
  Winterlink. I mean, I have to make mention
• 36:24
  all of our makers, Eric Winterling, Tricorn, Barack,
• 36:30
  Jill and Marco Paul, they are extraordinary makers.
• 36:37
  Those people accomplished Bethany, they those people
• 36:40
  accomplished extraordinary works of art and brought the
• 36:44
  experience of many, many, many, many years of experience that
• 36:50
  was that make this whole job possible working with people
• 36:55
  like Cathy Marshall from Tricon and it's just extraordinary.
• 37:00
  Those people are so experienced, so talented, and they guided
• 37:05
  this process with the construction in the most
• 37:09
  exquisite way. It's just so many incredible
• 37:13
  artisans involved in all this, which is why, you know, we all
• 37:16
  love the show so much as it takes so many.
• 37:20
  I love when people say it takes a village, but this film series
• 37:23
  needed a army. Like you said earlier, I am
• 37:28
  excited to talk about Bertha Russell.
• 37:30
  I mean, Kasha, she is. I could just watch a hour of
• 37:36
  just Carrie Kuhn just acting, honestly, she is so incredible.
• 37:39
  And every single costume, it's just she's sharp, funny, fierce,
• 37:43
  theatrical, dramatic, over the top, innovative.
• 37:46
  I don't have enough words. So just working with Miss
• 37:52
  Russell, this must be like the dream for a costume designer
• 37:54
  because every look she's in, it's just she's always trying to
• 37:58
  top herself, I feel like. It is and I think it's beyond
• 38:03
  the dream I must say, because you cannot even dream it up.
• 38:07
  There's this moment when you are working on the on piece like
• 38:13
  this is that when you get the information of what needs to
• 38:16
  happen, then you do your research and it's and you find
• 38:20
  out all the pieces of the puzzle and you get those incredible
• 38:23
  actors and the costumes start to emerge.
• 38:27
  It is pretty amazing. It's almost impossible to talk
• 38:31
  about it because it's a process. It's like a creative process
• 38:34
  that we're trying to describe, and in some ways it's not.
• 38:40
  It's kind of hard to describe when when all the elements are
• 38:43
  starting piercing together. What we do know about Bertha is
• 38:47
  that she is so determined to be part of the society.
• 38:55
  So that builds A-frame for Bertha.
• 38:58
  At the same time, she is a woman who is absolutely interested in
• 39:03
  what is the newest, the best, and what comes from Europe and
• 39:09
  what is it that will make her better than most of the members
• 39:14
  of the society. So it's this interesting,
• 39:16
  interesting frame that I needed to, I needed to find her
• 39:21
  language within that frame because she cannot break away
• 39:25
  from that, from that frame. At the same time, she's right on
• 39:29
  the edge of it. So that's the fine line of like,
• 39:33
  how on earth do you going to balance on that edge?
• 39:37
  And how do you not push it towards too modern or too
• 39:40
  conservative? So I looked at thousands of
• 39:45
  images that inspired Bertha. Every element that Bertha worse
• 39:51
  comes from this extremely innovative period of the Gilded
• 39:56
  Age that some of the research is almost hard to believe that
• 39:59
  those shapes existed. The the level of asymmetry, the
• 40:02
  level of boldness, the level of organic draping, it all existed.
• 40:09
  It's just I think you just have to study the the history in a
• 40:15
  very rigorous way and and pull the elements what creates the
• 40:20
  newness of the period for her. And I think that there was so
• 40:25
  much material within the research that in a way it, it
• 40:30
  was, I think to, I'm still surprised so frequently how
• 40:35
  modern those pieces look in that period.
• 40:40
  Like I think that the fashion designers for years have been
• 40:43
  drawing from that period and finding the source of shapes
• 40:48
  and, and elements of tailoring that come from that period that
• 40:54
  are so incredibly lasting for decades with its newness and and
• 41:00
  boldness. Like this dress that you
• 41:02
  portraying here. This is taken from research.
• 41:04
  I manipulate the colors, I pushed the colors, but the
• 41:08
  colors are also very much inspired by a lot of the
• 41:11
  paintings, a lot of the visual vocabulary of that period, those
• 41:17
  colors, because interesting combinations of colors existed
• 41:21
  in the period. It's just sometimes we think
• 41:24
  about the period in a different way and don't and look at it
• 41:27
  differently, like not fully acknowledging that there was so
• 41:32
  much modernity already there. So, and it's interesting because
• 41:37
  forever design board, I created this historical back for each of
• 41:42
  the board because we were always laughing that I will I will be
• 41:47
  probably told that it didn't exist, but it actually did.
• 41:52
  And I might have taken apart the dresses and we used top of one
• 41:55
  dress and bottom from another, but I would consider it to be a
• 41:59
  big crime. Yeah, so much creativity with
• 42:04
  Missus Russell. So much and so much creativity
• 42:08
  in Newport. NY's Best Getaway and New
• 42:15
  Newport just gives the costumes a whole different spin.
• 42:19
  How would you explain the Newport aesthetic and how do you
• 42:23
  translate that into your costumes?
• 42:27
  The Newport, that was a very different vocabulary than the
• 42:31
  city it it is summer, it is very different fabrics, it's linens,
• 42:37
  very light silks, it is breezy. It is also designed for
• 42:46
  lifestyle of leisure and and celebrations and parties and
• 42:51
  events. So it's a very specific
• 42:54
  vocabulary. And there was once again so much
• 42:56
  research of the Newport and all those shapes as wild and bald
• 43:01
  they are, they came majority of them came from the real
• 43:04
  research. It's a lifestyle that was for
• 43:07
  the privileged. People had just trunks of new
• 43:13
  outfits designed for the Newport events, which is endless amount
• 43:20
  of pleasure and fun. Love that I also at this season
• 43:25
  loved Miss Turner becoming Missus Winterton who was clearly
• 43:32
  ready for payback. This must have been a fun
• 43:35
  character to design. That was a fantastic character
• 43:39
  to design because it was the combination.
• 43:41
  I think it was amazing about this character that she really
• 43:47
  knows the language of the old guard and she really knows the
• 43:50
  language of the new guard. So I felt that for her being the
• 43:56
  wife of an elderly gentleman, she needs to obey by the rules
• 44:01
  of the old guard at the same time create this newness of the
• 44:05
  new guard. So I chose very conservative
• 44:12
  silhouettes, but put her in very bright light, pastelic colours
• 44:17
  of the new new guard. So that was the approach and of
• 44:21
  course building this incredible sophistication to her because we
• 44:25
  do didn't know that Turner was the advisor for Bertha for all
• 44:29
  those years while working for her.
• 44:32
  So she gets to play with what she knows and uses it to this
• 44:42
  incredible manipulation of strategizing her her powers.
• 44:49
  I love it my I think one of my favorite scenes is when they see
• 44:52
  each other for the first time. I could watch the moment forever
• 44:56
  and ever. So hilarious.
• 44:59
  That's Julian. That's just Julian's building of
• 45:01
  the story and suspenses and humanity, and it's just he
• 45:06
  creates those really, really fun scenarios for us to portray.
• 45:11
  One of my favorite looks from this whole series was Aunt Ada's
• 45:17
  wedding gown. It's something we typically
• 45:21
  wouldn't consider traditional in today's world, but it was so
• 45:25
  perfect for Aunt Ada. What was your concept behind her
• 45:29
  look? So cute I'm gonna cry again.
• 45:32
  Once again, I know it's so beautiful, right?
• 45:34
  That that whole scene is so beautiful.
• 45:37
  Once again, driven by the material, driven by the script
• 45:40
  and driven by the research. And that in the Gilded Age,
• 45:44
  majority of the ladies were getting married, did not wear
• 45:48
  white. White was very rare.
• 45:51
  And particularly for somebody who was not 20 years old, that
• 45:57
  was definitely, it was a usually a day dress, a pretty day dress
• 46:00
  with a veil. And that's exactly what we did
• 46:03
  for Aunt Ada. And I thought it was fun to
• 46:08
  discover. That's because I didn't know
• 46:10
  about that. I, I was expecting when I read
• 46:12
  it on the page that she's getting married.
• 46:14
  I was, I thought, how, how on earth are we going to do this?
• 46:18
  Because she has so little time to create her dress.
• 46:20
  We knew that it was taking time creating the dresses.
• 46:24
  Once we discovered the research, it became the the answer was
• 46:28
  kind of easy because we knew that it's going to it will have
• 46:32
  to be the dress that is a day dress with elements, what we
• 46:40
  understand now as the wedding elements with the touches of the
• 46:43
  white and this beautiful veil. I love it.
• 46:47
  I also loved Peggy's just exquisite ball gown.
• 46:53
  Could you talk about working with Danny Benton as Peggy Scott
• 46:58
  and this fantastic ball look? The butterflies.
• 47:03
  Thank you. She is then, is a dream.
• 47:07
  I mean, as are all the actors. We are so lucky to work with
• 47:11
  those superstars who are not only so phenomenal at their
• 47:15
  jobs, they're also beautiful, kind, respectful people who
• 47:22
  understand the process of costume making as I
• 47:26
  extraordinary respectful and collaborated in the process.
• 47:30
  So creating this, this was such a fantastic piece written by
• 47:34
  Julianne of this ball that we got to design yet another ball
• 47:40
  and. Ball every other episode.
• 47:43
  No, I was like, that is just a dream again.
• 47:46
  And I did find a research piece of research that inspired this
• 47:51
  dress very much and then transformed the colors of it.
• 47:54
  And it was a very fast we didn't have much time to make this
• 47:59
  dress and it was this incredibly complicated process of printing
• 48:05
  that needed to happen. It was Caroline Spitzer was in
• 48:10
  charge of the printing and collaborated once again.
• 48:16
  We work with two amazing printers, Dynamics, and we work
• 48:19
  with Patrick with his studio. And it was all about finding the
• 48:27
  geometry of the butterflies on the dress.
• 48:30
  That was the big technical challenge.
• 48:32
  And Carolina kept making little minis from paper to make sure
• 48:37
  that those butterflies are spread dice flying, just in the
• 48:42
  right. Perfect positions and we kept
• 48:44
  adjusting the prints because it's not that easy to print that
• 48:48
  kind of a pattern on a dress form.
• 48:52
  That was actually technically a really challenging dress to to
• 48:57
  make. And it was Kathy Marshall and
• 49:00
  the printers and us figuring out the proportions and placement
• 49:05
  and the sizes of the butterflies.
• 49:10
  Very, I mean, that was, I mean, we, we figured out how the
• 49:12
  butterflies are going to fit into the dress.
• 49:14
  I mean, like, could this be any more of a dream job?
• 49:19
  I got the butterflies going to be on the dress.
• 49:21
  It was really, it was kind of phenomenal.
• 49:26
  Well, I personally feel like the dream keeps going because we get
• 49:29
  to the epic season finale in terms of winning and losing.
• 49:33
  And I we all knew the season was going to and with the bang.
• 49:38
  But to me, I feel like it exceeded all expectations.
• 49:42
  The opera war between Mrs. Russell's Metropolitan and Mrs.
• 49:47
  Astor's Academy of Music. It's clear that Mrs. Russell won
• 49:50
  the fight and I feel like part of it is seen in the costume.
• 49:54
  So can you take us back to the costumes of the opera finale?
• 49:58
  You could. We could probably do a whole
• 50:00
  podcast on this specific episode.
• 50:02
  The challenge of this finale was portraying the two different
• 50:08
  worlds in two opera houses and creating this dynamic of the two
• 50:13
  different worlds and this competition and like the rhythm
• 50:20
  of this episode. And we knew that the old guard
• 50:24
  is going to be this classic whites and classic deep mixed
• 50:28
  with deep colors. And and very what we do know is
• 50:34
  the classic glamour colors. And I wanted to break it up with
• 50:39
  the with the colors for for the new world.
• 50:44
  And those colors did exist. They didn't maybe exist in those
• 50:48
  combinations, but they did exist.
• 50:50
  And I decided to use this mint green for Bertha because if you
• 50:56
  watch the final moment when she, when she steps into this giant
• 51:01
  red Opera House, I thought there was no other color other than
• 51:06
  this mint green that would separate her from, from this
• 51:10
  whole Gen. world and focus your eyes on that mint green.
• 51:14
  And I think that it, I think it worked actually for her to be
• 51:18
  separated from, from the world around her.
• 51:21
  And I decided that's what she wants.
• 51:26
  This famous iron dress. That famous iron dress was made
• 51:30
  in white and black. It was made in pink and it was
• 51:34
  made in pale blue, if I'm correct.
• 51:37
  I don't 100% remember, but I'm pretty sure that those are the
• 51:39
  three colors that the iron dress existed in.
• 51:43
  And so I manipulated that to, to this meant the green, because
• 51:47
  this meant green also stood for something that that represented
• 51:51
  in US. That was the color that was
• 51:53
  quite new in that period. And, and I felt that birth.
• 51:57
  That was the woman who was embracing all those provocative
• 52:05
  values, probably of that period, and at the same time using a
• 52:10
  very classic dress that was keeping her within the framework
• 52:16
  of the society. We have to give a shout out to
• 52:20
  to Gladys as well, who really was coming into her own.
• 52:24
  And that purple look, It is one of the coolest costumes I think
• 52:28
  I've seen in a minute is so good.
• 52:30
  And I know she's having kind of a rough night.
• 52:32
  She might not know it yet, but she looks amazing.
• 52:36
  Yeah, that was that was a game like decided to use this color.
• 52:41
  I definitely felt that it was. It was a bold move for for this
• 52:49
  part and the and the design part, it just felt that that's
• 52:53
  what it needed to be in order for them to separate.
• 52:55
  This is a language of filmmaking.
• 52:57
  I think that that we decided to embrace is that creating a
• 53:02
  spectacle within the framework of the history.
• 53:07
  And the shapes come very much from historical research.
• 53:12
  The color comes from historical research.
• 53:15
  But I think that the way I was applying it was driven by the
• 53:20
  story, by the needs of each scene versus on on portraying
• 53:25
  the reality of what was happening at that period.
• 53:28
  So I feel like I was responding to the rhythm of the of the
• 53:34
  scripts, the rhythm of what that material was calling for, how it
• 53:38
  needed to be present, represented visually.
• 53:41
  And that sometimes demands of demands invention of a language
• 53:47
  that is very specific for, for the piece that we are creating
• 53:52
  versus representing, reflecting just the history of the of the
• 53:59
  period. And that's the big dilemma that
• 54:01
  we all just keep discussing. Is this how it's done?
• 54:06
  But this is how it that's this is how we have been doing it for
• 54:09
  the Gilded Age. I think it's very much driven by
• 54:12
  the page of what's on the page. What's, what's what is the
• 54:16
  story? Driving.
• 54:17
  Driving the visual representation.
• 54:21
  Well, I mean, we could easily talk to you for hours, but we do
• 54:25
  want to end with one final question because this has been
• 54:28
  such a joy. Thank you so much.
• 54:30
  The Gilded Age is such a hit and we are so happy to hear it's
• 54:33
  moving on for a third season. So what has the show meant to
• 54:37
  you so far? Now doing two seasons and I hope
• 54:40
  1/3 as well. For me, working on this piece
• 54:44
  means so many things. One is the collaboration of
• 54:49
  those extraordinary talents, the writer Julian Fellowes, the
• 54:53
  producers, the director, the DPS, the production designer.
• 54:59
  Working on this material is so extremely rewarding because it's
• 55:03
  I consider myself to be a New Yorker transplanted from Poland,
• 55:08
  but I'm a New Yorker by now, and discovering the history of New
• 55:12
  York in such detail from that period is such a privilege.
• 55:16
  It's such a treat to to live in that world of history of the
• 55:22
  town that I love so much. Also addressing, addressing the
• 55:27
  social issues that are happening in that period, which are
• 55:30
  extremely valid still today and representing those representing
• 55:37
  the different social, economic, political moments that that we
• 55:44
  starting to discover in season 2.
• 55:47
  And I'm not sure what we're going to be discovering season
• 55:49
  three, but I speculator we'll be discovering more.
• 55:52
  It's extremely valid for me because we continuously learn
• 55:58
  about presence from the lens of history.
• 56:02
  It also for me, it's I am so proud to be part of this team
• 56:08
  that is creating it. And we all learn from each other
• 56:11
  continuously. We are sharpening our skills
• 56:15
  daily. I think that we are building, we
• 56:19
  building our knowledge every day of what we have learned so far
• 56:23
  and how we go into the future. And it is such a joyful process
• 56:29
  collaborating with those incredible artisans and
• 56:32
  designers and makers. It's, it's truly, it's, it's
• 56:37
  workplace of masters and you continuously learn from each
• 56:42
  other. It's that part is spectacular.
• 56:47
  I am also so proud to be part of entertainment that truly
• 56:54
  entertains people right now, because I think that we as the
• 56:57
  world are in a extremely challenging place and we all
• 57:02
  need entertainment, pure pleasure and entertainment.
• 57:07
  And I think Gilded Age provides it really well that the, the
• 57:10
  response that we got from people from the street is really
• 57:14
  beautiful. Like there's so many people who
• 57:16
  truly enjoy the time with the Gilded Age and some might be
• 57:20
  critics and that's OK. Nevertheless, they still enjoy
• 57:23
  it. So that's the fun part.
• 57:26
  Like even the haters love it. So that is the, and everybody
• 57:30
  was like, we still love it. So I think that that's the fun
• 57:34
  part. I was like, it's really fun to
• 57:36
  be part of entertainment. It's really, I feel like we, we
• 57:39
  providing, we providing something for the soul that is
• 57:43
  that is quite rewarding. And if I can keep delivering the
• 57:48
  beauty, it's pretty. It's a privileged place to be.
• 57:53
  Costume designer Kasha Wiliska Mamona, thank you so much for
• 57:56
  joining us. This has been It's talk to Joy.
• 57:59
  Yeah. And we can't wait to see what's
• 58:02
  next. Hi, this is Dan, audio engineer
• 58:22
  of the podcast here to let you know that if you wanted to
• 58:25
  support the show, you can head over to the Art of
• 58:28
  costume.com/podstore. There you can buy some awesome T
• 58:33
  public merch with the podcast logo such as a shirt, coffee
• 58:38
  mug, stickers, and of course a baby onesie.
• 58:43
  Thanks for all your support. Spencer That was great.
• 59:08
  That was everything I wanted from that interview.
• 59:10
  That was amazing. I think my only complaint is
• 59:13
  that I wish it was like 3 hours longer.
• 59:16
  Right, right. I, I always just want to like,
• 59:20
  sit down with the costume designer in front of the
• 59:22
  television and just like, watch whatever we're talking about and
• 59:25
  be like, oh, what about this? What about this?
• 59:28
  Right. I mean, I have a million and two
• 59:30
  questions, but I'm so thankful that she got to talk with us and
• 59:34
  talk about this amazing show. She gave us so much great
• 59:37
  insight. And, you know, I'm just so
• 59:39
  thankful to Kasha and I hope I'm just saying there needs to be an
• 59:44
  Emmy nomination in the near future.
• 59:46
  I'm not afraid to say it deserves it.
• 59:49
  Dare I say possibly an envy win. But you know, that's for the
• 59:53
  Academy to figure out. Elizabeth we've, we've been
• 59:59
  talking a lot about costumes, but I, I think we still have a
• 1:00:03
  little bit of time. I don't know about you, but I
• 1:00:05
  kind of want to talk about some Gilded Age scandals.
• 1:00:08
  I love this idea, truly. I truly love this idea.
• 1:00:14
  OK, well, what we're gonna do, since we don't want this episode
• 1:00:17
  to be 3 hours long, we're gonna do a quick fire round of
• 1:00:22
  scandals where I'm gonna say the scandal and we could give, you
• 1:00:25
  know, a couple sentences or whatever about these scandals.
• 1:00:29
  I mean, I mean, you're also Co producer, so if you break the
• 1:00:32
  rules, that's on you. But you know, we'll we'll figure
• 1:00:36
  it out. Yeah.
• 1:00:38
  All right. So first one, Elizabeth, this is
• 1:00:41
  this is a softball one. Larry Russell and his romance of
• 1:00:45
  Susan Blaine the Widow. Oh oh, that was hot, but I think
• 1:00:53
  it might come back to bite him in the ass.
• 1:00:58
  I gotta say, I thought it was super hot and I'm super into it
• 1:01:02
  and I just think Larry Russell was killing it.
• 1:01:05
  Honestly, he. Really was.
• 1:01:08
  He really was. I was very invested and I, I
• 1:01:12
  felt sad when it had to come to an end.
• 1:01:14
  That was my one time. I, I, I shook, I shook my finger
• 1:01:18
  at Mrs. Russell. I was like, no, no, no, Miss
• 1:01:21
  Russell let. It happen, Yeah, yeah.
• 1:01:23
  She had a point though. She had a point, though.
• 1:01:26
  For the day and age, she had a point.
• 1:01:29
  She had a point. I get it.
• 1:01:31
  I'm I'm sure back then it probably was frowned upon.
• 1:01:34
  Whatever. OK, next scandal, the arrival of
• 1:01:39
  Missus Winterton. Oh my gosh, Oh my gosh.
• 1:01:44
  That was this was scandalous. This was so scandalous.
• 1:01:49
  Just like when you see her at the end of the episode, you're
• 1:01:51
  like who? When we're why and how?
• 1:01:54
  Like like what? And like, I was so confused at
• 1:01:59
  first. I didn't register that it was
• 1:02:01
  her because she freaking looks like Missus Russell.
• 1:02:06
  Like it is so wild and shocking and then just the way she tries
• 1:02:11
  and like destroys, Misses Russell.
• 1:02:14
  I'm like, I get it girl, but also like, what's the point?
• 1:02:17
  You married a rich man, Just enjoy your life.
• 1:02:20
  I had a so exact reaction the first time when the Russells
• 1:02:24
  turn around and see Misses Winterton.
• 1:02:26
  I had the same reaction. I was like who the what the how
• 1:02:30
  the But I also agree with you though.
• 1:02:34
  I was like this beef is unfounded.
• 1:02:36
  I mean I get it they don't have to be best friends but I also
• 1:02:40
  thought they had like a decent relationship it just.
• 1:02:42
  Felt it. Felt a little aggressive.
• 1:02:46
  The way she like, the way Mrs. Winterton like, twisted the
• 1:02:50
  narrative of her trying to like, seduce Mr. Russell.
• 1:02:56
  I was like, that's no, no girl, that's so underhanded and shady.
• 1:03:02
  Like, how dare you? So then our next scandal is
• 1:03:07
  Misses Russell. No, you're Misses Russell
• 1:03:11
  finding out about Mr. Russell and Misses Winterton.
• 1:03:15
  And you kind of started on it. But yeah, I was, I feel sad.
• 1:03:19
  I don't know. I thought Carrie Coon was giving
• 1:03:21
  a a master class in acting. I thought, I mean, actually it
• 1:03:25
  was a bit over the top, which I loved.
• 1:03:27
  But that's how Missus Russell would respond.
• 1:03:30
  And. Yeah, I was.
• 1:03:31
  I was disappointed in all parties, including Mr. Russell,
• 1:03:35
  for just being like, oh, well, that happened.
• 1:03:37
  I'm like, but you didn't say anything.
• 1:03:40
  Communication is key, Elizabeth. It absolutely is.
• 1:03:44
  I have to say I was also disappointed in him for that.
• 1:03:47
  I feel like after she had like already left I feel like he
• 1:03:52
  should have been like hey I don't know if it was right or
• 1:03:55
  wrong of me to keep this until now but now that she is no
• 1:03:58
  longer here this happened. And like, I feel like Missus
• 1:04:04
  Russell still would have been pissed about it, but I don't
• 1:04:06
  think she would have been so angry.
• 1:04:09
  She still would have been pissed.
• 1:04:10
  I actually don't see a a scenario where she's not pissed.
• 1:04:16
  I think he yeah, I think he would have had to have gone
• 1:04:19
  directly from that room to her room.
• 1:04:21
  And then like we got to fire your maid.
• 1:04:23
  This just. Happened.
• 1:04:24
  Yeah, that is the only way. And that was not gonna happen.
• 1:04:30
  So anyways, OK, next scandal, Armstrong and return of Miss
• 1:04:36
  Scott. Yes, I OK, I was so happy that
• 1:04:42
  Miss Scott came back because the home is just more fun with her
• 1:04:49
  in it. Yeah.
• 1:04:51
  Armstrong, though, is still just like Misses Ryan.
• 1:04:55
  Just get like, I get why she gives her so many chances, but
• 1:05:00
  I'm also like, come on, Like, yeah, she's not a very good
• 1:05:04
  person. The HR department needs to be
• 1:05:08
  littered with complaints because Armstrong still has not learned
• 1:05:12
  her lesson. She's still a jerk all the time,
• 1:05:15
  a racist jerk all the time, but just kind of deals with it.
• 1:05:20
  And I feel like she just kind of gets by, you know, free without
• 1:05:24
  anyone, really. It's like, oh, it's just
• 1:05:26
  Armstrong being Armstrong. Like, no, but Agnes, you got to
• 1:05:29
  put a stop to this. I'm just saying I don't care if
• 1:05:32
  she starts getting all wimpery and sad every time.
• 1:05:35
  It's like, oh, I'm going to lose my house, get a job somewhere
• 1:05:39
  else. Sorry.
• 1:05:41
  Yeah, them's were the time, unfortunately.
• 1:05:47
  But yeah, I was, I was annoyed. I was like, seriously, we're
• 1:05:51
  going to have to like, deal with Armstrong still.
• 1:05:53
  Like, come on. And of course, Miss Scott is
• 1:05:57
  like the absolute nicest and even like kind of stands up for
• 1:06:00
  Armstrong multiple times. I'm just a little brother.
• 1:06:03
  Like she is such a good person and Armstrong doesn't deserve
• 1:06:08
  it. She doesn't, but maybe she'll
• 1:06:12
  learn her lesson in season three.
• 1:06:14
  But if we're being real, probably season 5.
• 1:06:16
  But you might just say, OK, this next one, I know you're going to
• 1:06:21
  have lots to say. Marion Brooks being engaged to
• 1:06:25
  Daschle. She's she's really like falling
• 1:06:30
  back right now. I could see the trauma of
• 1:06:32
  flooding back over her face again.
• 1:06:34
  I I felt so bad for Marion. So so OK, so since day one,
• 1:06:44
  since season one, episode one. I have.
• 1:06:48
  Been been like her and Larry have to get together.
• 1:06:53
  They have to and when Dashiell came along, it really I had
• 1:06:59
  really had conflicted feelings because I.
• 1:07:03
  Was falling for it. I was like, this is a good man,
• 1:07:07
  like for the time, this is a good man and he like he like
• 1:07:11
  pulls you the same in season one with the other guy that ended up
• 1:07:15
  being trash. Like he like pulls you in and
• 1:07:18
  pulls you in and then he he's at dinner calling her by his dead
• 1:07:23
  wife's name and being like, of course you'll give up your
• 1:07:27
  passions when you're married. Why would you have any?
• 1:07:31
  A good thing you'll never work another day in your life.
• 1:07:34
  Yeah, and Mary is just like, look over.
• 1:07:36
  Agnes So she has her thumbs up just like, yeah.
• 1:07:40
  I love it because Agnes is like, yeah, yeah, yeah.
• 1:07:42
  And then he calls her the wrong name and Agnes is like, oh, you
• 1:07:48
  can visibly see Agnes be like, Oh no.
• 1:07:52
  Oh, no, not again. Yeah, I actually was never a fan
• 1:07:58
  of Nashville. I I just felt like it was way
• 1:08:02
  too pushy the entire time with like, being like, oh, hang out
• 1:08:06
  with my daughter and like, you know, she needs a motherly
• 1:08:09
  figure. And I don't know, it just felt
• 1:08:11
  weird for me the entire time. So I actually was never on
• 1:08:15
  board. And I was very relieved to see
• 1:08:17
  it didn't carry on hopefully until season three, 'cause I
• 1:08:20
  just, he gave me a weird vibes from the beginning.
• 1:08:22
  And I just think Mary needs to know, needs to do what we all
• 1:08:26
  know needs to happen, which is Mary Larry.
• 1:08:30
  Yeah, absolutely. I didn't find it that strange,
• 1:08:36
  although I've watched like so, so many like TV shows and movies
• 1:08:40
  and like books and stuff like within this time period are
• 1:08:43
  similar ones. So I'm like the fact that like a
• 1:08:48
  handsome guy widowed with a daughter finds like another
• 1:08:52
  attractive young woman and is just like, Oh yeah, you'll
• 1:08:57
  you'll be Good Wife material and just pursues that very quickly.
• 1:09:01
  I'm like, yeah, yeah, it happens.
• 1:09:04
  I mean, it's typical. I mean, I thought for sure I was
• 1:09:07
  like, yeah, I guess we're gonna just wrap this up and get
• 1:09:09
  married and maybe the finale will be a wedding episode.
• 1:09:12
  Thank God it didn't. But.
• 1:09:13
  I know I was a little afraid that like they'd get married and
• 1:09:18
  then she'd realize or like Larry would realize, like, Oh my gosh,
• 1:09:22
  I love, I love my next door neighbor.
• 1:09:25
  Yeah, again, if Susan Blaine is no longer available, then I
• 1:09:28
  think Larry and Mary Anita get together.
• 1:09:31
  Oh yeah, I think, I think Susan's clearly off the table.
• 1:09:35
  Did you see Larry at the engagement when he drops down to
• 1:09:39
  one knee? Did you see Larry's face?
• 1:09:42
  He was not happy about it, not thrilled.
• 1:09:44
  No, no. And I was making the same face,
• 1:09:47
  so I was clenching my fist. Yeah.
• 1:09:52
  Oh OK. Also, and Ada's storyline this
• 1:09:56
  season was so bittersweet. It was beautiful.
• 1:09:59
  I loved watching it. At first, I was like, I don't
• 1:10:01
  know about this, But then just once you, like, see them get
• 1:10:04
  married, of course. Oh, when Agnes walks in during a
• 1:10:08
  wedding and sits down, I was a complete wreck.
• 1:10:11
  I was sobbing. Yeah, it was so nice.
• 1:10:14
  I did feel like the storyline was a little rushed.
• 1:10:17
  I get they were like, we don't know if we're moving into a
• 1:10:19
  season three. We're going to wrap this up real
• 1:10:21
  quickly. That's fine, but I just felt
• 1:10:24
  like a little rushed. But I still loved it.
• 1:10:26
  It was beautiful and I just wish Aunt Ada could be happy and I
• 1:10:30
  wish it lasted more than two or three episodes.
• 1:10:33
  Yeah, I I almost wish they had started this like the end of
• 1:10:38
  last season. Yeah.
• 1:10:40
  And just like had them get like serious and this season like
• 1:10:44
  that would have been cute. Let the let the love sauce
• 1:10:47
  simmer a little bit. Yeah, but it was very nice.
• 1:10:51
  She got what she always wanted in life.
• 1:10:54
  And when Agnes is like sitting or not, Yeah, Agnes, when Agnes
• 1:10:58
  is sitting by his, like, sick bed and she's like, she only has
• 1:11:03
  to think of you on this earth to, like, feel warmed and loved.
• 1:11:07
  I'm like, Agnes, this is. I was.
• 1:11:11
  Oh man, I was crying. Yeah, I'm going to get emotional
• 1:11:15
  nails. And then for the final two
• 1:11:18
  scandals, which I was saving for last because they kind of
• 1:11:21
  controlled this this season. First, the Met versus the
• 1:11:26
  Academy. We have Missus Russell versus
• 1:11:29
  Missus Astor. The perfect, perfect
• 1:11:32
  battleground. Elizabeth, which side were you
• 1:11:35
  on? The Met.
• 1:11:38
  Oh, OK. The Met, like clearly everyone
• 1:11:43
  at The Academy Is too stuffy. Mm hmm.
• 1:11:46
  Yeah. I want to be where Mrs. Russell
• 1:11:48
  is, quite frankly. Yeah, I, it was a no brainer for
• 1:11:52
  me. I'd be at the Met.
• 1:11:54
  I, I mean, I would have been those one of those people that
• 1:11:56
  Mrs. Astor didn't like because I was always with Mrs. Russell.
• 1:12:01
  However, I still would like a night at the Academy.
• 1:12:03
  I mean, can I not go to both? I guess probably not, but I
• 1:12:07
  would like to. If I was living there I
• 1:12:10
  definitely would have been old money.
• 1:12:12
  Also got a booth at the Met and been like well now I have
• 1:12:16
  options. Yeah, you would be old money.
• 1:12:20
  That's so funny. Oh, you know, I'd be old money,
• 1:12:22
  Yeah. That's funny.
• 1:12:29
  I wouldn't keep that from letting me have fun with the new
• 1:12:31
  money people though. Right.
• 1:12:33
  And I just love Missus Astor too.
• 1:12:35
  I mean, she is one of my favorite characters that just,
• 1:12:38
  you know, we have to have, like we said earlier, we'd like a
• 1:12:41
  good conflict. OK, It's low stakes conflict.
• 1:12:44
  We could have our favorite favorites fight against each
• 1:12:46
  other. So I was always with Missus
• 1:12:49
  Russell. Oh, same.
• 1:12:52
  And I just find myself standing by Mrs. Russell until we get to
• 1:12:55
  our last scandal of our quick fire scandal round Elizabeth.
• 1:13:00
  What is going on with Mrs. Russell's daughter and the Duke?
• 1:13:05
  The Duke or the Prince? Spencer, have you ever heard of
• 1:13:08
  an American Dollar Princess? So you and I have already had
• 1:13:14
  this conversation at length behind the scenes, but please
• 1:13:17
  remind our audience because I know you're very passionate
• 1:13:20
  about this. So during the Gilded Age it was
• 1:13:25
  a lot of the British aristocracy was actually losing their money
• 1:13:31
  and could not afford their estates so they were sending
• 1:13:35
  their sons over to America to marry all the rich heiresses and
• 1:13:41
  the heiresses families wanted the prestige of old European and
• 1:13:48
  like British titles so they were literally selling off their
• 1:13:53
  daughters. And.
• 1:13:56
  Some of them had OK lives. I think Win, Winston Churchill's
• 1:14:01
  mother was one of these people and she had like an OK life.
• 1:14:05
  A lot of them had very sad lives 'cause they basically were just
• 1:14:08
  taken to England to have babies and have all their money be
• 1:14:14
  taken by their husbands. No, that's so sad.
• 1:14:19
  I don't want Gladys to be one of these.
• 1:14:21
  What did he call them, $1,000,000 babies?
• 1:14:23
  American dollar Princess. Oh right, that would make me so
• 1:14:28
  sad. I, I I love Gladys and she
• 1:14:34
  doesn't deserve this, but we know damn well what Missus
• 1:14:37
  Russell is doing. Here's the thing, though.
• 1:14:39
  OK, here's the thing though, Spencer.
• 1:14:42
  Remember when her father promised her he would support
• 1:14:46
  her choice for marriage no matter what, so long as she
• 1:14:50
  didn't marry Oscar? Yeah, which fair.
• 1:14:55
  Fair. So I think, 'cause that in the
• 1:14:58
  very last scene, Mr. Russell realizes something isn't right.
• 1:15:03
  He said, wait a minute, why is that man here?
• 1:15:06
  What did you do 'cause I I checked the checking account and
• 1:15:09
  no money was withdrawn. Yeah, and he's like he's calling
• 1:15:13
  us by our names. Excuse me, what?
• 1:15:17
  Yeah. And so he knows something's
• 1:15:19
  going on. Clearly, Gladys doesn't care
• 1:15:22
  about this man in the slightest. She's paying no attention to
• 1:15:25
  him. She's I, I dare to say, a little
• 1:15:28
  clueless at this moment. And everyone's and.
• 1:15:31
  And she's dressed like a who? Yeah.
• 1:15:33
  How the Grinch stole Christmas. I.
• 1:15:37
  She. Looked lovely, but this was that
• 1:15:39
  was a lot. She looks amazing.
• 1:15:42
  The costume's amazing, but the hairstyle's giving Cindy Lou.
• 1:15:45
  Who? Yeah, yeah, absolutely.
• 1:15:49
  Elizabeth with that, that was our not so quick fire round of
• 1:15:53
  the Gilded Age scandal from season 2.
• 1:15:58
  If I had a good time, if I had more tea, we could go on and on
• 1:16:02
  and on, but we still have to play our favorite game.
• 1:16:05
  Are you ready, Elizabeth? Yes.
• 1:16:08
  Let's do it, Daniel. The one costume to rule them
• 1:16:13
  all. OK, Elizabeth, Well, I think my
• 1:16:21
  one costume to rule them all should be of no surprise to you.
• 1:16:26
  It is of course, Missus Russell's opera gown she wears
• 1:16:31
  to the Met in the finale episode.
• 1:16:34
  She is just a vision. This trailing gown.
• 1:16:39
  I love the teal color that kind of looks like the the darker
• 1:16:43
  blue on top of it kind of looks like a iron rod fence.
• 1:16:47
  It's just, I mean, the hair, the tiara, the jewelry, everything
• 1:16:51
  about it to me is flawless. And I just love that moment
• 1:16:54
  where she walks into her box and everyone just kind of stands and
• 1:16:58
  looks at her and it's just like, oh, the queen is here, you know,
• 1:17:02
  like that. That's what I'm talking about.
• 1:17:04
  This is what I wanted. Even if she just sold her
• 1:17:07
  daughter off to this Prince slash Duke.
• 1:17:11
  I'm, I don't know, I gotta say, I'm just, I'm still Mrs.
• 1:17:15
  Russell's going to have to try a lot harder than that to not have
• 1:17:17
  me on her side. You're still rooting for her.
• 1:17:20
  You're still rooting for her. Yeah, that is boring to loyalty.
• 1:17:24
  Yeah, I I understand. I understand.
• 1:17:29
  I do love this look as well. It is gorgeous.
• 1:17:32
  It is beautiful and just so of the time.
• 1:17:36
  I really love it and I think my one costume to roll them off
• 1:17:42
  will also not be a surprise. I love Aunt Aida's wedding look.
• 1:17:49
  It's so her. It's so especially when she gets
• 1:17:52
  like the veil on and like she just looks like it's simple, but
• 1:17:59
  in in the cathedral, she just like is the center of attention,
• 1:18:04
  like in this very subtle, beautiful way.
• 1:18:09
  And it's just like it chokes you up.
• 1:18:12
  Like you're like, oh, like she, this is literally like
• 1:18:15
  everything she wanted from her life in this moment.
• 1:18:19
  And it's really beautiful. It's so beautiful.
• 1:18:22
  I remember the first time I saw it, I was kind of taken aback.
• 1:18:24
  I was like, oh, is she wearing blue as a wedding dress?
• 1:18:27
  But then I'm like, she has such a vibrant personality, such a
• 1:18:30
  vibrant soul. It just, it works.
• 1:18:33
  It's just beautiful. And I know it also is like, you
• 1:18:35
  know, Periodacorate too. And it just everything about it
• 1:18:38
  just feels right. And you can't help but just
• 1:18:41
  smile. So I agree with you.
• 1:18:43
  That's a good one. Costume rule them all.
• 1:18:45
  And also, dare I say, saw it coming.
• 1:18:47
  Yeah, Elizabeth, what a fun episode.
• 1:18:53
  I can't believe it's finally over.
• 1:18:55
  I mean, we've been talking about the Gilded Age season 2 for a
• 1:18:57
  while, and I guess they'll probably be another season or
• 1:19:01
  two before we talk about Gilded Age season three.
• 1:19:03
  But let me just tell you, it's coming.
• 1:19:06
  Consider it recorded because we will be there when you all need
• 1:19:09
  us to talk about the Gilded Age. Absolutely.
• 1:19:13
  I love this season, and if you want to tell us what you loved
• 1:19:16
  about this season, you can leave a voicemail at 626-515-1826,
• 1:19:25
  leave a little message for us, or you could e-mail us at
• 1:19:28
  theartofcostume@gmail.com. Well, Elizabeth, for our next
• 1:19:33
  episode, we are really changing the pace here 'cause we are
• 1:19:38
  starting our annual series that we coined a few seasons ago and
• 1:19:44
  we've just kept with it every summer.
• 1:19:45
  Now we are starting what? Girls Summer.
• 1:19:53
  And we're starting it with probably perhaps one of the
• 1:19:56
  hottest hot girls summer movies of the year.
• 1:19:59
  And I mean quite literally, because it looks very hot.
• 1:20:02
  In this movie. We're talking about Furious.
• 1:20:05
  I'm excited. I have not seen this yet.
• 1:20:08
  I'm so excited to go see it. I am really, really excited for
• 1:20:14
  the movie and for this season, this hot girl summer season.
• 1:20:18
  Yeah, we have a great line of coming.
• 1:20:19
  I also have not seen Furiosa, but I know it just came out a
• 1:20:22
  couple days ago. I've read a couple reviews here
• 1:20:25
  and there. So I'm just going to say looking
• 1:20:27
  forward to seeing it for myself and talking about the costumes
• 1:20:30
  because we know that they were done by Jenny Bevin once again
• 1:20:34
  and Jenny Bevin does not miss. If you want more of our show,
• 1:20:39
  don't forget to go to youtube.com slash at the Art of
• 1:20:42
  Costume where you could see our episodes on YouTube coming out
• 1:20:46
  every Wednesday. We also post some shorts as
• 1:20:49
  well. You can follow us on Instagram
• 1:20:51
  at the Art of Costume pod TikTok at The Art of Costume.
• 1:20:55
  If you want to head over to our merch store, get yourself AT
• 1:20:58
  shirt to prepare yourself for hot girl summer, go to
• 1:21:01
  theartofcostume.com/PODstore and as always, leave us a 5 star
• 1:21:06
  text review on Apple Podcast and or write us on Spotify.
• 1:21:11
  It really does help us get noticed.
• 1:21:13
  Just whatever you gotta do. Just five stars really makes us
• 1:21:15
  feel nice and warm on the inside 5.
• 1:21:17
  Stars comment on somebody's thighs.
• 1:21:19
  I don't know. Yeah, yeah.
• 1:21:24
  If you can rewrite that comment but in the review.
• 1:21:28
  Section. We'd really appreciate that,
• 1:21:32
  Elizabeth. I look forward to riding through
• 1:21:35
  the deserts of whatever universe Mad Max takes place in a
• 1:21:40
  Furiosa, and look forward to talking to you soon.
• 1:21:44
  I can't wait to talk about this with you.
• 1:21:47
  Everybody have a fantastic week. The Art of Costume podcast is
• 1:21:55
  hosted and produced by Elizabeth Joy Glass and Spencer Williams.
• 1:22:01
  Our audio engineering and editing is done by Dan White.
• 1:22:05
  Follow us on TikTok at The Art of Costume and Instagram at the
• 1:22:10
  Art of Costume Pod. If you want to support the show,
• 1:22:13
  go to theartofcostume.com/pod store.
• 1:22:18
  For more podcast updates, costume reviews, deep dives and
• 1:22:23
  interviews, go to theartofcostume.com, A blog
• 1:22:28
  dedicated to highlighting the best in costume design.