HBO spares no expense in costuming the stars and designing the sets of "The Gilded Age." Currently in its second season, the period drama is filmed in locations across the state of New York, including a Broadway Stages set that serves as the beautiful interior of the van Rhijn/Brook brownstone. The new season took more than 100 days to film, and the production pumped more than $100 million into the local economy, supported more than 250 local businesses, and employed more than 1,500 people.

The New York Governor's Office of Motion Picture and Television Development and Warner Bros. Discovery recently hosted a webinar in which lead costume designer Kasia Walicka Maimone and members of her team discussed all of the hard work that goes into designing and creating the luxury threads that embodied the age of opulence in New York City in the late 19th century.

A period drama with a large ensemble cast such as "The Gilded Age" requires a surfeit of custom-made lavish costumes and accessories. Across two seasons, Maimone and her team (with lots of help from local artisans) have carefully crafted more than 1,200 women's dresses, 1,000 men's suits, 750 women's hats, 400 men's hats, 100 tiaras, and 4,000 pairs of shoes.

Maimone said that the creative process always starts with the material. In the case of "The Gilded Age," series creator Julian Fellowes established the time period, place, and characters while the creative team, led by director Michael Engler, determined how best to approach that period. Maimone said the team's main inspiration for the visual approach came from paintings.

"We looked at endless amounts of paintings, and that created very quickly this key to the door of how to approach this period, because the painters naturally heightened the beauty, heightened the contrast, heightened the colors, and we needed that language of heightened reality for our story," she said. "We know that we are not making a documentary. We know that we are creating new material, a new story, that has to live within the framework of the period and be very much inspired by the period."

The production employs a researcher who created a library of about 36,000 images from the time period (around 1877 to 1900). The team also had digital access to museum collections of garments and dresses as well as fashion magazines from the period to provide additional inspiration.

Maimone created a distinct look for each character, keeping in mind that old-money aristocrats such as Agnes van Rhijn (Christine Baranski) would have a very different wardrobe than the nouveau riche Bertha Russell (Carrie Coon).

"Bertha for sure was definitely a fun character to design. She's a character who breaks some rules. I mean, she's trying to belong to the society. She's desperately trying to belong... At the same time, she challenges the society. So my framework was quite specific. It has to fit within the norms of the historical reality."

For Bertha's look, her team drew from the latest European fashion of the time and looked beyond the precise year of 1882 so she would stand out.

"Her persona is so different than the old guard," she said. "For the old guard I chose those classic jewel colors, the deep maroons, deep, deep navies, the jewel tones, and for Bertha, it was the colors of newness and the colors of freshness."

She also raised the point that the nouveau riche didn't just dress differently to stand out and flaunt their newfound wealth, but also because they lacked traditions (such as precious heirlooms passed down from their ancestors) and were looking to establish new ones.

"I always compare the two guards like two museums that are here in New York: Metropolitan and Whitney Museum," she said. "They exist at the same time. We experience them both, but it's a completely different collection of art," she said.

Once assistant costume designers Isabelle Simone and Caroline Spitzer receive Maimone's completed design, it can take four to six weeks to create one dress. Head Tailor Sue Bakula makes many of the pieces in-house, but the team also relies on the hard work of local artisans to ensure that every sleeve, bustle, and bow is just right, and every button, fabric, and pattern fits the time period. In fact, these local artisans play a key role in helping the team authentically capture the period. In the 1880s, each character would likely have had her own favorite dressmaker with whom she would work to build out her wardrobe.

"We sort of approach it that there's one maker per character for the most part… there's one person making her clothes so you can see consistency through her entire closet," Simone said regarding each character. "It also takes about three fittings per dress, maybe four with the actor to get everything ready to be seen on camera."

Aside from the dresses, no woman of high society would dare be seen in public without proper accessories, like intricate hats, elegant jewelry, stylish shoes, and long gloves. The team works with local jewelry makers to reproduce iconic pieces from the era and create custom looks for each character — even the hundreds of extras.

For the first season, the team focused on creating the characters and figuring out the logistics of designing all the pieces. The new season provided the team with the opportunity to dig deeper into the time period and the emotional journey of each character.

"It became this really beautiful discovery," Maimone said. "I'm surrounded by designers, each one of them has this incredible talent and what they bring to the table. It really is this beautiful collaboration that made the show happen."

If you haven't watched HBO's luxe period drama "The Gilded Age" yet, what are you waiting for? Take a trip back to the opulent days of Manhattan and Newport in the 1880s. Broadway Stages is thrilled to be part of this stunning production that supports New York's booming film and television industry.