Julian Fellowes and Carrie Coon. Photo by Jesse Rylander
Reconstructing a historical past on screen is no easy task. Making moving images feel increasingly authentic, whether in film or television, requires a careful orchestration of multiple creative disciplines. When done right, the result can be a masterwork of visual storytelling. That’s precisely what The Gilded Age achieves as it recreates a world that’s at times majestic, at others crumbling, or strikingly austere.
Frank Di Lella, Julian Fellowes, and Carrie Coon. Photo by Jesse Rylander
During a recent Tribeca Festival panel, series creator Julian Fellowes joined cast members Denée Benton, Louisa Jacobson, Morgan Spector, Cynthia Nixon, Christine Baranski, and Carrie Coon for a conversation moderated by journalist Frank Di Lella. The cast shared insights about the artistry, history, design, visual effects, and narrative layers that make the show a standout in its genre. While the storyline for Season 3 was kept under wraps, the audience was treated to a first look at the opening episode, which showcased top-tier performances and meticulous craft.
Denée Benton. Photo by Jesse Rylander
Of Facades, Frames, and VFX: The Set as a Character in The Gilded Age
Julian Fellowes explained that one of the most exciting aspects of Season 3 is the way it juxtaposes the rise of elite New York society with the lawless chaos of the American West, two coexisting realities that shaped the formation of the United States. “It was all simultaneous, and that I think a lot of people don’t fully understand is that a new country was growing called America, and all of these different things were happening at once,” he said.
Morgan Spector (George Russell) added that scenes set in snowy New York and dusty Arizona were actually filmed in Long Island, where full-scale facades were constructed, green screens were deployed, and even Epsom salts were used to simulate snow. The realism of these sets made a strong impression on Louisa Jacobson (Marian Brook), who described the transformation as magical, despite the heat. “It was warm, it was hot. And I was like, yeah, a coat. But it was so brilliant and beautiful to see the place transformed,” she said.
The Gilded Age Costumes by Kasia Walicka
Morgan Spector and Louisa Jacobson. Photo by Jesse Rylander
Beyond Costume: How TGA Choreographs Period, Props, and Narrative
One of The Gilded Age’s most fascinating elements is its costuming, not just because it reflects the time period, but because it actively pushes the boundaries of historical fashion. Carrie Coon (Bertha Russell) explained that her gowns are crafted by multiple designers and function almost like puzzles, so complex they require instructional videos to assemble. “My dresses are all like little puzzles. They’re all different. And so I never know what I’m going to get, which is really thrilling,” she said.
Cynthia Nixon (Ada Brook) added that despite the elaborate construction, getting dressed is surprisingly quick. “Honestly, it takes me so much longer to get ready for And Just Like That… Amber can get us into those dresses in like seven minutes flat.”
Denée Benton (Peggy Scott) emphasized the emotional weight of historically accurate props. In one scene, she held a signed first edition of Frederick Douglass’s autobiography, without being told beforehand. “I always feel like I’m sort of getting to channel these unspoken ancestors from that time, because I didn’t know about them at school at all,” she shared.
Christine Baranski and Cynthia Nixon. Photo by Jesse Rylander
What’s Invisible Builds the Visible: Walking in the Footsteps of History
Cynthia Nixon and Christine Baranski (Agnes van Rhijn) reflected on the surreal experience of filming in present-day Manhattan while portraying its Gilded Age past. From Grand Central to the Metropolitan Museum, the city remains a living backdrop to the same stories they’re bringing to life on screen. Baranski highlighted how the so-called “robber barons” shaped the city culturally, while Nixon emphasized how strange and powerful it feels to walk the same streets their characters would have walked.
Julian Fellowes and Morgan Spector also drew parallels between the original Gilded Age and today’s era of extreme wealth and tech-fueled ambition. Spector was especially pointed in his critique of the “self-made genius” myth, noting, “Most of what they’re doing is just taking other people’s money to do that.”
Images Courtesy of DNEG © 2022 Home Box Office, Inc. All Rights Reserved.
Visual Design as a Bridge Between Historical Realities
The Gilded Age doesn’t just recreate a historical period, it reframes it through a highly aesthetic lens where every shot, fabric, or prop becomes a deliberate storytelling choice. In a time when design profoundly shapes our perception of history, from fiction to docuseries, TGA reminds us that art direction is narrative in motion.
What makes the show truly exceptional isn’t just its scale, it’s the way costume, set design, and shot composition work in concert, layering visual information in every frame. It’s a masterclass in how Motion Design can draw from the past to inspire texture, rhythm, and visual storytelling today.
TGA maps the contours of economic, racial, and gender power, not only through its scripts, but through how the camera moves, how space is arranged, how actors inhabit the frame, and how each scene is crafted with VFX and intentional staging. For those working in Motion Design, The Gilded Age is a reminder that animation doesn’t have to be digital to be dynamic. It can be made of lace, architecture, steam, and yes, Epsom salts.
Season 3 of The Gilded Age premieres June 22 on Max.