“The Marvelous Mrs. Maisel” is spinning offstage and “The Crown” has finally made it to The Revenge Dress, so it hasn’t exactly been a low-key season of television when it comes to costumes. (Not to mention the ingenious Easter eggs hidden in Tanya’s costumes in “The White Lotus.”) But no one is surprised when fabulously costumed shows continue to exhibit their knack for creating fabulous costumes that serve as eye candy and character development. Here are five series that premiered during the 2022-2023 season that deserve 2023 Emmy attention for their costumes.
“1923” (Paramount+)
The latest addition to Taylor Sheridan’s ‘Yellowstone’ universe is a fascinating study of a society in transition from the rural world of ‘1883’ to a more technologically oriented America that will see the Dutton family arrive by helicopter at their home on ‘Yellowstone “. Costume designer Janie Bryant straddles both worlds flawlessly, with outfits that tell us which side of the battle between tradition and modernity each character falls on; Her designs also add to the series’ epic sweep and study of class differences, as she creates the wardrobe for an ensemble that includes troubled Indigenous students, daring international adventurers, high society ladies, and a diverse array of cowboys. It’s an impressive collection of dresses that are as beautiful as they are expressive of character. —Jim Hemphill
“The Diplomat” (Netflix)
UK Ambassador Kate Wyler’s (Kerri Russell) journey was told at least in part through her growing comfort in more than just black dresses and comfortable shoes, and her fashions were written into the scripts from the start. . But what Roland Sanchez archives is much more than a “Now, Voyager” politician of exercising confidence through a red suit. Observing a cast of characters composed mostly of political administrative staff (and a few strutted peacocks), he and his team found ways to instantly convey character through functional clothing choices like a shirt and tie or a tweed jacket. . Contemporary mores can be hard to impress, but one of the joys of ‘The Diplomat’ is feeling instantly oriented thanks to its shrewd combination of sharp writing, dry wit, and spot-on character development. Not to mention the sheer excitement of seeing David Gyassi’s Dennison in three-piece suits being very British and reserved, at least initially. —Marco Peikert
“Interview with the Vampire” (AMC)
One of the story advantages of AMC’s “Interview with the Vampire” is its ability to skip decades, and Season 1 takes full advantage of it to trace Louis (Jacob Anderson) and Lestat’s (Sam Reid) relationship through different eras of the fashion of the 20th century. But costume designer Carol Cutshall does a great job of always pulling them together and above the feverish frenzy of New Orleans residents. There’s an angular, stiff, sharpness to the way Lestat wears his clothes that is nothing short of predatory, while much of Louis’s internal conflict is made visible through the Harold Lloyd cosplay he wears as a budding reporter and the l The richest and most vampiric clothing wears out. “Interview with the Vampire” is a prime example of period clothing that never overwhelms the frame but always has something crafty to say about the characters. The costumes even help us get caught up in the decadent frenzy of the nocturnal movement: the blood of the living looks even brighter when it’s sprinkled on our vampires’ cooler-colored clothes. —Sarah Schachat
“Wednesday” (Netflix)
Tim Burton’s go-to costume designer, four-time Academy Award winner Colleen Atwood (“Fantastic Beasts and Where to Find Them,” “Alice in Wonderland,” “Memoirs of a Geisha,” and “Chicago”) has already won the ADG Award for Netflix’s “Wednesday” with co-designer Mark Sutherland, making them serious Emmy contenders (featured in the contemporary category for episode 1, “Wednesday’s Child Is Full of Woe”). For the titular teenage outsider (Jenna Ortega) who wields her psychic powers in Nevermore, the costume designers creatively played with black and white in different patterns and textures for a modern look. Director Burton’s idea was to convey everyday goth. His dress for the white-themed prom is black, of course, but it’s made of nylon and dyed brown so it catches the light. Meanwhile, Atwood dressed the students of Nevermore in purple and black stripes and gave Morticia’s (Catherine Zeta-Jones) iconic black hourglass ensemble a softer look with a new neckline and side slits. —Bill Desowitz
