[Presenter] This is Agnes Van Rhijn.
This is Bertha Russell.
You know them from The Gilded Age.
You may remember this elegant ensemble.
And who could forget this iconic look?
Hmm. But are they accurate?
We asked this fashion historian.
Hi. I'm Raissa Bretaña and I'm a fashion historian
[Presenter] To walk us through what The Gilded Age
got right and what they got mostly right about these looks.
[Raissa] The Gilded Age is an HBO original series
that chronicles the drama that follows New York society
at the end of the 19th century.
[Presenter] You may have heard of the famous time period
coined by Mark Twain in 1873,
but what exactly is the Gilded Age?
The Gilded Age refers to a period in American history
that stretched from the end of the Civil War
to the turn of the 20th century.
This era was defined by rapid urbanization,
technological advancement, and economic growth,
but it was also marked by incredible wealth disparity.
The opening title card places us in the year 1882.
The show is set in New York City.
On the show, the fictional Van Rhijn and Russell families
live across the street from each other
on the corner of Fifth Avenue and East 61st Street.
[raining]
Welcome to East 61st Street, Miss Marian.
This sets the scene for the longstanding feud
between old and new money.
We only receive the old people in this house,
not the new.
Never the new
Costume designer, Kasia Walicka-Maimone,
heightened the social divide
by creating a dramatic visual contrast
between these two groups.
The designer took advantage of the rich visual culture
from the period, and drew inspiration from this variety
of primary sources like paintings, photographs,
fashion plates, and surviving garments.
[Presenter] Hmm. What are fashion plates?
Fashion plates were the illustrations that were included
in fashion magazines during the 19th century.
It's very clear that Kasia researched fashion plates
from the period because there are many costumes
throughout the series that look like exact duplicates
of styles that appeared in magazines.
If you're a fashion enthusiast like me,
you might have also recognized some of the costumes
as replicas of existing garments from museum collections.
Old money style was all about refinement and respectability.
[Presenter] So how well did the show
showcase these differences?
Let's get into the looks.
First up, Mrs. Van Rhijn' afternoon look
This look appears in episode one
and would be considered an afternoon ensemble.
Christine Baranski plays Agnes Van Rhijn,
who is an imposing matriarch that represents the values
of Old New York.
You belong to Old New York, my dear,
and don't let anyone tell you different.
Agnes, along with her sister Ada and their niece Marian,
is descended from the highly regarded Livingston line.
But she does marry into the Van Rhijn family
for financial security.
You were allowed the pure and tranquil life of a spinster.
I was not.
I'm very grateful.
As a member of the highest echelon of society,
she would've adhered to a strict coat of dress
that governed a woman of her position.
This included changing up to five times a day.
Hardly. You need four outfits a day at the minimum,
decent jewels, and a full dance card.
[Raissa] Throughout the series
she's seen wearing a variety of ensembles,
whether in the home or out for social gatherings.
[Presenter] Let's get into the layers, shall we?
First up, the undergarments
Women were required to wear several layers
of undergarments during this period.
We get a glimpse of Agnes's undergarments
when she goes to visit her dress maker for a fitting.
The first layer would be the chemise,
and this was the layer that was worn closest to the skin.
Underneath she would be wearing drawers or pantalets,
which were bloomer-like undergarments that were worn
on the lower half of the body.
As they had for centuries, women in this era were required
to wear stockings.
[Presenter] Up next, the corset.
Corsets were structured foundation garments
that sculpted the torso into the fashionable silhouette
of the period.
I'm going up to change. I want to get out of this corset.
[Presenter] Up next it's all about the bustle.
When it came to fashion in the 1870s and 1880s,
it was all about the bustle.
The bustle was a steel foundation garment
that gave skirts of this period their unique shape.
During this period, it was very fashionable
to have a narrow waistline and a voluminous posterior.
The bustle defined fashion during the 1870s and 1880s.
But there was a brief period in the very late seventies
and early eighties where it diminished
in favor of a more streamlined silhouette.
We see Agnes debating the evolution of bustle size
with her dress maker in her fitting.
I should point out that bustles are getting smaller
for most people. I am not most people.
[Presenter] Talk about iconic. Next up, petticoat.
Yep, we're still on underwear.
The petticoat was a cotton skirt-like undergarment
that provided an additional layer for warmth, volume,
and modesty, which was a priority
for ladies during this era.
[Presenter] And now, afternoon dress.
There were certain design features
that would make a dress appropriate for morning, afternoon,
or evening, such as neckline or sleeve length.
For the afternoon, the sleeves could be shortened
to reveal the forearm, but the chest had to remain covered,
which would make this open neck line inaccurate.
This is a rule not often adhered to in period costuming,
and we see many characters throughout the series
with exposed chests during the day.
This would not have been acceptable,
especially at this echelon of society.
Dresses in the fashionable silhouette
featured a sculpted bodice that dipped low in front
and was fitted over the hips.
The skirt would have fullness to accommodate
the protruding bustle and additional decorations
to emphasize the backside.
Fashionable dress of the late 19th century is notable
for its heavy ornamentation.
In 1882, skirts for indoor wear tended to have
a bit of a train, and we see Agnes drag hers
through the dirt as she dramatically storms
across the street to barge into the Russell's house.
[indistinct commotion] [thrilling music]
Dressing well was such an important part of society life,
that as soon as Marion arrives in New York, Agnes sends her
straight to her dress maker to get new clothes made.
First we must attend to your clothes, my dear.
You'll go tomorrow with Ada to my dress maker.
At this rate, I should have more clothes
than the princess of Wales.
But if Mrs. Van Rhijn insists, who am I to object?
[Presenter] That brings us to hair and makeup.
Agnes wears her hair in a braided updo,
which is totally accurate, but comes across
as a little more severe, especially in comparison
with the softer styles we see on the other characters.
An upper class woman was expected to wear her hair up
every time she was seen in public,
after being formally presented to society.
Gladys Russell is the only character we see
have her hair regularly down throughout the season,
but that's because she has not yet formally out in society.
Otherwise, the only time we see characters
with her hair down or in a loose braid,
is when they're in their private quarters.
[Presenter] And what about makeup?
Agnes would not likely be wearing any visible makeup
because there were negative moral connotations
linked to women who did.
A woman of Agnes's character and social standing
did not welcome those associations.
That is no excuse for risking the reputation
of every lady in the room.
[Presenter] Coming up, we have jewelry.
Mrs. Van Rhijn wears a pair of dangling earrings,
which would've been very fashionable for the period.
In other scenes, she also wears a broach.
Many of the characters wear neck broaches
with their daytime attire.
There was a range of styles that featured carved cameos,
seed pearls, inlaid enamel, and even human hair.
You heard me. Human hair.
Morning jewelry was a common way
to commemorate the dearly departed.
Often a lock of hair would be encased in a piece of jewelry,
like a broach, and worn as an act of remembrance.
Such a piece of jewelry would be appropriate for a widow
like Agnes, if she had any affection for her late husband.
[Presenter] Ouch.
Me, with the Van Rhijn money,
which was not achieved at no cost to myself.
[Presenter] Onto our next layer, boots.
High-buttoned, leather boots where the standard
for daytime wear.
The style prevailed throughout the late 19th
and early 20th centuries as the everyday footwear choice
for the working class and upper class alike.
These boots extended up over the ankle, and provided modesty
and coverage for those perilous moments
when skirts may need to be lifted.
For example, when walking about the city
or getting in and out of a carriage.
[Presenter] Who could forget the accessories?
Agnes wears this look in the comfort of her own home.
But if she were to go out, there would be a few necessary
accessories to complete her ensemble.
First, she would need a pair of gloves,
and these could be purchased at department stores.
We see Marion purchase two pairs at Bloomingdale's,
which in 1882 was located close to the Van Rhijn home,
on Third Avenue and East 56th Street.
A hat was required whenever a lady left the house.
We see a wide array of fashionable hat styles
during the charity bazaar scene.
Some were shaped more like bonnets with ribbons
that tied underneath the chin, and others featured
more of a tall crown with a shorter upturned brim.
But almost all were lavishly embellished with trimmings
like ribbons and lace and feathers.
When outdoors, women often carried parasols,
which provided protection from the sun.
[Presenter] Every lady who loves a good purse, right?
Purses serve as important plot devices
at several points throughout the series.
During this time, women became more autonomous
and got to move around the city on their own
and without male companions.
So they needed purses so they could hold their own money
and their other personal effects.
Purses were also necessary for carrying calling cards.
These would've been used when society women
made social visits to each other's homes.
But you'll give her my card and this envelope.
[Butler] You'll say I called? Of course, ma'am.
This was all part of a very strict set of etiquette
that governed the upper class.
Mrs. Astor is in the hall. What?
She wonders if you have time to see her.
[Presenter] So here's what Agnes would've looked like
compared to what she wore in the series.
Overall, this look is mostly accurate
and a great representation of fashions from the period.
[Presenter] So now that we've taken a look
at the customs of old money, let's step into the fashion
and flare of a new money ensemble.
Next up, Bertha Russell's ballgown.
Bertha Russell is a wife and mother who will stop
at nothing to be accepted into New York society.
She is portrayed by actress Carrie Coon.
Is that from the Palazzo Borghesi?
No, the Hôtel de Soubise in the Marais.
We finished the gilding in the ballroom, Mr. Russell.
No. You think you have finished the gilding,
Mr. Kowalski, but nothing is finished till I decide.
I don't want my old friends. I want new friends.
The Russell family bears similarities
to the famous Vanderbilt family, who also made their fortune
in the railroad industry.
Bertha is desperate to break into high society,
and tries to make connections with the leading members
by any means necessary.
So, now they know we are here.
Bertha Russell's character is loosely based
on Alva Vanderbilt, who had a real life face off
with Mrs. Astor in 1883 over the attendance of her ball.
This is the incident that would inspire the season finale.
I gather my daughter Caroline
will not now dance at your ball tonight.
Indeed, she is no longer invited. Is that correct?
It is.
For the big event in the season finale,
Bertha wears a ballgown, which was the most formal category
of evening attire and therefore commanded the highest sum.
Women spent a lot of money on clothing during the Gilded Age
because appearances were everything.
Upwardly mobile nouveau riche women like Bertha Russell
had a taste for the dramatic and for the avant-garde.
She would've patronized the most highly-regarded
European fashion houses.
These were the same fashion houses patronized
by the old money set.
However, those women were in the habit
of buying the latest styles,
but then keeping them in their closets for a year or two,
so as to not appear too fashion-forward.
Bertha Russell would not do that.
While old money women tended to be more modest,
nouveau riche women really wanted to show off
their new wealth.
[Presenter] Let's draw this gown layer by layer.
Despite their differences, women of the old money
and new money sets basically wore the same undergarments.
Bertha would also be wearing a chemise, pantalets,
and a pair of stockings.
Chemises for evening wear tended to have thinner straps
because more of the chest in arms would be exposed.
[Presenter] You know we can't forget the corset.
The silhouette of the 1880s corset
featured a narrow waistline, a rounded abdomen,
and fullness at the hips.
Stitched channels encased strips of boning,
and this is what gave a course at its rigidity.
An upper class woman like Bertha would have a lady's maid
to dress her and to maintain her daily wardrobe.
Will there be anything else, ma'am?
You tell me. Will there?
It might be better without the broach.
It's too much?
Yes, it's too much.
[Presenter] For the next layer, we have the bustle again.
The bustle was a fashion staple that both
nouveau riche women and the old society women
deemed essential for a fashionable ensemble.
There are variety of bustle types
that were used to achieve posterior fullness.
[Presenter] Here comes the petticoat.
An evening petticoat would be similar to a daytime one,
but could incorporate more ruffles
to support a heavier skirt.
Evening dresses typically featured a tail-like train.
So a petticoat with extended length at the back
would be appropriate.
[Presenter] And now for the main event, the ballgown.
Bertha's ballgown is very closely based
on a surviving garment in the collection
at the Metropolitan Museum of Art,
designed by the House of Worth.
However, that original dress dates to about 1898,
about 15 years after the show is set.
So this costume is technically inaccurate.
In fact, many of the paintings and fashion plates
that served as inspiration for Bertha's costumes
came from the years after 1882, and helps Bertha
to stand out as the leading lady in the ballroom.
What is accurate about this look is where it came from.
The House of Worth was founded in 1858
by Charles Frederick Worth, who is widely considered
to be the founding father of haute couture.
There is a famous gown by the House of Worth, from 1882,
that also resides
in the Metropolitan Museum of Art's collection.
So perhaps it would've been more appropriate
to recreate that look.
[Presenter] Hmm, perhaps. Let's get into the details.
It is festooned with extravagant silk flowers,
which is pretty consistent with the other gowns
that Bertha wears throughout the season.
[Presenter] As for Bertha's hair and makeup?
Like Agnes, Bertha also only wears her hair down
when in her private quarters.
For the ball, she sports an elaborate updo of stacked curls,
which would've been done by her lady's maid turner.
When compared to the hairstyles worn by other women
in the series, Bertha's tend to be more sculptural
and decidedly modern-looking,
which is very fitting for her character.
Because the use of cosmetics was associated
with women of ill repute, like performers and prostitutes,
Bertha would've wanted to go for a more natural look,
even for the evening.
Society women who wore unnatural-looking makeup,
like the infamous Madam X, garnered scandalous reputations.
And Bertha would not have wanted to take that risk.
[Presenter] Now, onto jewelry.
Chokers were very fashionable for evening attire.
However, Bertha would want to wear her finest,
flashiest jewelry to impress her guests.
[Presenter] Up next, the shoes.
Silk pumps were the standard for evening wear.
These could be dye to match dress or embroidered at the toe.
The heels were curved,
and an appropriate height for dancing at a ball.
Well, that's all for tomorrow.
Tonight for the belle of the ball.
[Presenter] And lastly, the accessories.
We see Bertha and the other ladies at the ball
wearing opera-length gloves that extend above the elbow.
These were typically light-colored
and made of silk or a supple leather.
A fan was a very fashionable evening accessory.
We see Marian express envy over the one Berth carries
to the Academy of Music.
I envy your fan.
I wish I had one so I could cover my face
and look fascinating. [chuckles lightly]
[Raissa] Bertha later gifts her one of her very own.
[Presenter] So we could say this look is pretty accurate.
Even though this costume isn't technically accurate
for 1882, it does convey the essence of the character.
[Presenter] So any final thoughts?
The costumes of The Gilded Age offer a broader
visual representation of the last quarter
of the 19th century, rather than a fixation
on the exact year in which the show is set.
The design team accurately captured the vibrant colors,
sumptuous textiles, and asymmetry of the period.
At the end of the day, the costume succeeded
in conveying a sense of the era, and they did their jobs
in creating a clear visual distinction
between these two parties
within a very small slice of society.
Costume designer Kasia Walicka-Maimone
heightened this divide by putting the characters
that belong to old New York in styles closer to the 1870s
while putting the nouveau riche
in styles closer to the 1890s.
She also took creative license
with more fantastical designs,
but she did appropriately place them on characters
that were deemed outsiders within this society.
There's a reason that films and television shows
in this genre are called costume dramas.
And the costumes in The Gilded Age are the stuff
of dreams when it comes to this genre.
Everything is luscious and sumptuous,
and you get this visual delight
and a look into a more glamorous past.
[dramatic orchestral music]
