{"id":1718,"date":"2026-06-12T18:07:31","date_gmt":"2026-06-12T18:07:31","guid":{"rendered":"https:\/\/uspropertymoves.com\/?p=1718"},"modified":"2026-06-12T18:07:31","modified_gmt":"2026-06-12T18:07:31","slug":"from-gilead-to-the-wasteland-costume-designers-are-building-tvs-most-stylish-dystopias","status":"publish","type":"post","link":"https:\/\/uspropertymoves.com\/?p=1718","title":{"rendered":"From Gilead to the Wasteland, Costume Designers Are Building TV\u2019s Most Stylish Dystopias"},"content":{"rendered":"
\n<\/p>\n
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\nIn Pluribus<\/em>, an alien virus has tethered the world\u2019s population into a peaceful, polite and compliant hivemind \u2014 all except 13 people, including the impeccably dressed Mauritanian playboy, Mr. Diabat\u00e9 (Samba Schutte). He\u2019s reveling in his best life, free of the financial worries, societal boundaries and prejudices he would have faced prior to The Joining.<\/p>\n

Read more Blake Lively\u2019s Legal Fees to Be Paid for by Justin Baldoni, Court Orders<\/a><\/p>\n

\n\t\u201cHe is very hedonistic and pleasure-driven, so when he realizes that he can have anything he wants, he\u2019s not thinking about world peace,\u201d says Pluribus <\/em>costume designer Jennifer L. Bryan. \u201cHis idea is, \u2018Every fantasy and wish is going to be granted unequivocally, so I want to dress the part of a dandy, a pleasure-seeking guy.\u2019 \u201d<\/p>\n

\n\tFor Diabat\u00e9\u2019s elaborate bespoke suits, show creator Vince Gilligan\u2019s go-to costume designer looked to the Congolese Sapeurs, whose dandyism \u2014 rooted in colonial influence and reframed as postcolonial self-expression \u2014 centers on vibrant, designer label-filled sartorial rebellion. In contrast, unless The Joined\u2019s hivemind humans are performing one of Diabat\u00e9\u2019s dream scenarios, they rely on shared, reused clothing \u2014 regardless of style or culture \u2014 for functionality and survival.<\/p>\n

\n\tEnsconced in Elvis Presley\u2019s actual Las Vegas penthouse suite, Diabat\u00e9 assembles The Joined to bring his ambitious Casino Royale<\/em> vision to life. In a vintage white tuxedo, he runs the table, while a cast of cosplaying characters, including a Breakfast at Tiffany\u2019s<\/em> Audrey Hepburn and The King, fulfill their glam \u201960s-era caricatures: decked out in mod minis, glittering gowns and all the accoutrements. When Diabat\u00e9 has had enough, The Joined abruptly stop, obediently remove all their jewelry and costumes, and begin cleanup duties. \u201cThe curtains close on the fantasy,\u201d says Bryan.<\/p>\n

\n\tDiabat\u00e9\u2019s not the only one thriving in dystopia. In Paradise<\/em>\u2018s climate disaster-caused global collapse, a select group of elites, essential personnel and billionaires \u2014 who funded one massive, self-sustaining underground bunker \u2014 all dwell in seemingly idyllic, made-for-TV neighborhoods.<\/p>\n

\n\t\u201cThe billionaires were the only ones who could send trunks of clothing and everything they\u2019d need for their postapocalyptic life. They\u2019re the only ones who are still sharp, elegant, precise and tailored,\u201d says season two costume designer Coxy, breaking down the stronghold\u2019s hierarchical dress code. (Season one was designed by Sarah Evelyn.) \u201cWhereas everyone else has more of a vintage look, even if they\u2019re inside \u2018paradise.\u2019 \u201c<\/p>\n

\n\tThe inhabitants who are lower on the totem pole go through the motions of normal life in recycled pre-bunker-era clothing, but oligarch Samantha \u201cSinatra\u201d Redmond (Julianne Nicholson) calls the shots in formidable pantsuits.<\/p>\n

\n\t\u201cShe wears very nice suits, indeed, a mix of Saint Laurent and C\u00e9line. It was definitely on the higher-end vibe,\u201d says Coxy.<\/p>\n

\n\tWhen a genius quantum physicist, Link (Thomas Doherty), and his ragtag armada of nuclear reactor-disarming academics \u2014 outfitted in scavenged survivalist gear \u2014 knock on the bunker door, Sinatra power-plays in classic Ralph Lauren pinstripes. \u201cThat cashmere gray suit is in her comfort zone where she still feels protected and shielded,\u201d says Coxy.<\/p>\n

\n\tIn The Testaments<\/em>, set in the theocratic Republic of Gilead, exacting wardrobes also delineate a rigid social order under a brutal patriarchal regime. At Aunt Lydia\u2019s (Ann Dowd) premarital prep school, tightly controlled, color-coded uniforms enforce hierarchy among privileged yet subjugated young women. Costume designer Leslie Kavanagh meticulously custom-dyed various textured fabrics for cloaks, skirts, blouses and demure cardigans for the daughters of elite commanders as they are groomed to become wives.<\/p>\n

\n\tAgnes (Chase Infiniti), daughter of a top commander, and her friends are Plums, teenagers on the cusp of menstruation, before progressing to Greens. The younger girls project innocence as soft Pinks. Kavanagh also differentiated the characters through nature-referential details to represent \u201cblossoming,\u201d such as florals and feathers, on their pivotal Green gala gowns.<\/p>\n

\n\t\u201cI paid attention to showing where all of our girls are in the pecking order within Gilead,\u201d says Kavanagh, who also costume designed the final two seasons of the preceding Margaret Atwood adaptation, The Handmaid\u2019s Tale<\/em>. \u201cAgnes is our most privileged Plum, so she had 100 percent beautiful silk. The fabric draped so beautifully \u2014 it was like liquid. It moved and flowed wherever she did, and that was, of course, the goal.\u201d<\/p>\n

\n\tBecka (Mattea Conforti), Agnes\u2019 best friend, is afforded Plum status at Aunt Lydia\u2019s only because her father, Dr. Grove (Randal Edwards), is the dentist to the commanders and their wives. So she\u2019s held to a different standard.<\/p>\n

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\n\t\u201cBecka is constantly afraid to step out of line with her uniform,\u201d says Kavanaugh, who kept her in pristine, full Plum regalia. \u201cBut if Agnes had her bolero off, Becka might, because it seems like the appropriate moment. She\u2019s just always mindful that she doesn\u2019t have the same privileges as the other girls who are actual commanders\u2019 daughters.\u201d<\/p>\n

\n\tIn the year 2296, Fallout<\/em>\u2018s former Vault 33 golden girl Lucy MacLean (Ella Purnell) roams the nuclear war-ravaged Wasteland in her increasingly battle-worn, company-issued vault suit in search of her father, Hank (Kyle MacLachlan). Once a trusted community leader and doting father, Hank abducts her to a secret bunker reserved for the operation\u2019s ultra-elite management. \u201cYou\u2019ll be my little girl again,\u201d Hank tells a disillusioned Lucy. He attempts to reassert control over their fractured relationship by pressuring her into wearing a golden-yellow halter dress with soft tulle layers and delicate floral vine embroidery.<\/p>\n

\n\t\u201cWe\u2019re juxtaposing it with her vault suit,\u201d says season two costume designer Dayna Pink, who reimagined and custom-designed the intricate dress based on the video game. (Amy Westcott was the costume designer for season one.) \u201cI wanted it to be pretty and feminine and to really read as a period piece.\u201d<\/p>\n

\n\tThe retro-futuristic 1950s silhouette evokes patriarchal domesticity and presentation, while reinforcing Lucy and a suit-clad Hank\u2019s elite status in contrast to the dust-covered denizens of the former Las Vegas above ground. They carry on in reclaimed hotel uniforms and showgirl feathers. A defiant Lucy begrudgingly dons the Stepford-esque dress but keeps her rugged combat boots to reject her privilege and her father\u2019s control \u2014 and to fight the next battle.<\/p>\n

\n\t\u201c[The dress] was Hank\u2019s fantasy of what would be,\u201d says Pink. \u201cThe boots did the opposite and grounded it. So, his idea and her idea.\u201d<\/p>\n

\n\tThose dynamics merge in Murderbot<\/em>, where recycled clothing becomes a form of resistance to the oppressive, dehumanizing corporate supremacy in an interstellar, hyper-capitalist dystopia. To the Preservation Alliance team, led by progressive empath Dr. Mensah (Noma Dumezweni), sustainability is a way of life, along with universal health care, education for all and no forced labor. Still, the PresAux crew acquiesces to a corporation-mandated SecUnit (Alexander Skarsgard), a sentient blend of cloned human tissue and advanced robotics, who initially deems them \u201ca bunch of hippie scientists\u201d in \u201chandmade clothes.\u201d<\/p>\n

\n\t\u201cJust in terms of fighting the capitalist status quo, they\u2019re wearing a lot of repaired clothing,\u201d says costume designer Carrie Grace, who collaborated closely with the Murderbot<\/em> specialty suit designer Laura Jean \u201cLJ\u201d Shannon.<\/p>\n

\n\tGrace emphasized natural fibers in the PresAux civilian wear, as well as upcycling. Gurathin (David Dastmalchian) arrives at corporate headquarters in a \u201cpieced-together\u201d cashmere sweater, while Bharadwaj (Tamara Podemski) armors up in a quilted jacket crafted from bedspreads, both created by Toronto-based slow-fashion designer Diana Coatsworth.<\/p>\n

\n\tTo reach their interplanetary destination, the PresAux team dons homogenizing gray space suits for a prolonged wormhole journey. Along the way, the creative advocates of self-expression personalize their uniforms, which Grace designed as modular components \u2014 jackets convert into vests with zip-off sleeves and jumpsuits transition into rompers.<\/p>\n

\n\t\u201cThey added little bits and pieces of their own flair,\u201d says Grace, referring to textile art on biologist Arada\u2019s (Tattiawna Jones) skirt and lawyer Pin-Lee\u2019s (Sabrina Wu) vest, and graffiti line work on wormhole expert Ratthi\u2019s (Akshay Khanna) shirt and cropped pants.<\/p>\n

\n\t\u201cThat told such a story about their state of mind and worldview,\u201d continues Grace. \u201cIt\u2019s a way to show that without actually speaking those words.\u201d<\/p>\n

\nThis story first appeared in a June stand-alone issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe.<\/em><\/p>\n

Read more The World Cup\u2019s Secret Weapon<\/a><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Explore how costume designers craft iconic looks in dystopian TV worlds like \u2018The Testaments,\u2019 \u2018Fallout,\u2019 \u2018Pluribus,\u2019 and more.<\/p>\n","protected":false},"author":1,"featured_media":1717,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[245,826,827,1479,1480,515],"class_list":["post-1718","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interesting","tag-awards","tag-emmy-awards","tag-emmys-2026","tag-fallout","tag-pluribus","tag-the-testaments"],"yoast_head":"\nFrom Gilead to the Wasteland, Costume Designers Are Building TV\u2019s Most Stylish Dystopias - US Property Moves<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/uspropertymoves.com\/?p=1718\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"From Gilead to the Wasteland, Costume Designers Are Building TV\u2019s Most Stylish Dystopias - 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