Starring Harrison Ford, Helen Mirren, Brandon Sklenar and Julia Schlaepfer, this 8- episode series premiered in 2022 on Paramount +.  A prequel to ‘Yellowstone,’ it also served as a sequel to 1883. 

It is the story of the Dutton Family, struggling through droughts, the prohibition period and the real hardships that eventually led to the Great Depression, a period that which affected life in Montana long before the actual Wall Street Crash of 1929.

Harrison Ford and Helen Mirren in '1923'

Gaby Acosta was born in Tijuana, Baja California to a single mother, who struggled to help her daughter achieve her dreams. When Acosta was nominated, co-Costume Designer (to Jane Bryant)  of '1923'  all of Tijuana was excited being the first person from that community to ever be nominated.

“I think my mom is more excited that I am, which I am so happy about, because if it weren’t for her, I would definitely not be here, with all the sacrifices she made in her life for me to chase my dreams. So, she is so excited and going to be my ‘date’ at the event”.

'1923'

Since she was a child, Acosta, like all young people was fascinated by the role fashion and costume plays in our lives: -

“Mostly just seeing the movies and then love stories. I love story-telling and I felt that way for me to do that was with costume.  In a movie, I could see that the characters are what they are wearing!  I always noticed that in movies, whether it is a sci-fi or period, the costume really helps the actors inhabit their character… This inspired me to want to work in costume design, but deep down the real inspiration is the stories. I always loved stories and story-telling, and wanted to be a part of that.”

Will Smith & Martin Lawrence in 'Bad Boys'  

This interest took Acosta to study at the renowned FIDM: The Fashion Institute for Design and Merchandising, which opened doors for her to work in the fashion industry. But Acosta had ambitions for more.

 “When I managed to work behind the scenes dressing the models, I got to experience the production side. With producers and designers and how it was styled and constructed and that made me want to transition into film, much as I loved fashion.”

Acosta work: Jude Law and Brie Larson

Her move into TV and films had a lot to do with the determination and enthusiasm of Acosta herself. Seeing the well- known Costume Designer Kristen M Burke on a panel at a Comic-Con convention, she summoned up the courage to go up to her. A move that changed her life.

“I met Kristin Burke at Comic-Con which was awesome (San Diego California). I went on a fluke invitation and she was at a costume designer panel and I really loved how she spoke about everything and how she expressed herself.  I just went up to her and said: Hey Kristin I would love to assist you one day. I do commercials and reality TV right now, but I would love the opportunity to work with you. She looked at me LOL okay, stranger… (chuckles) - But two weeks later she did give me a call to go and assist her. She said she had a week of work, and asked if I was interested. I said “absolutely!”  After that first day, Kristen came up to me and asked me if I would like to stay for the entire show.”

I met Gaby Acosta (over zoom) and was impressed by her relaxed, confident and warm manner. Doubtless this attitude is vital when confronted with the pressures and acute time constraints of having to be ready on set, bang in the middle of complex shoots: -

“[As with most TV series], in 1883, because of the logistics of that show, we were never settled in one specific location. It was a circus style. We had trucks that would follow us, the crew that travelled and the deciding of who goes where, who does what. I think that was the most difficult and having to learn the pace of the tailor-sharing world, which is very quick and from one day to the next everything has to ready. Having to be patient, we had to deal with storms, high [intense] heat and we did not have an office to shelter ourselves.   We’d be in the back of the truck, putting dirt on shoes, so it was very demanding. During that logistical challenge, I learned so much!”

'1923' 

Acosta learned that art of survival in this demanding atmosphere is to get ahead while you can, and the costume department works closely with Production and Art Directors, a vital link: -

“The Art Directors were Cary White and Lisa Ward.  They are both so lovely and communicative. We would ask about interior scenes, to know what the location would look like, so we could [adapt the costumes and] avoid being too clashing. They have completely a different timing from ours because we get the casting [late], close to when they start to shoot, so having all that information beforehand is very beneficial. They would give us pictures so we can make sure we don’t blend our characters into that, or if the bar is more of a Western rustic bar, that could change our idea of: ‘Oh, the look should be more cowboy’, so we have to opportunity to make those changes.”

                                                 Sam Elliot in '1883'

As spectators, we watch the finished films knowing very little about what went on behind the scenes, let alone the problems that the costume department has to deal with on a daily basis. Some of the biggest challenges for the Costume in these series was related to the actual filming locations: -

“In 1923, for example, [the challenge] was dealing with the climate and the elements.  Transitioning from [intense] heat to extreme cold. [For instance], some scenes were started in Austin, and then [the same scene was] continued in Montana! So, we built a lot of pockets and special compartments for ice, cooling vests for the heat and then in winter, we had electric thermals and heating pads that fit into the pockets, the shoes and the hats!  [Then] we had to make sure all those things that we built into the garments did not compromise the period and the look.”

Martin Sensmeier and Isabel May in '1883'

Another challenge was the need to be extra creative when it comes to materials. Acosta outlines other issues that come to the fore: -

“Other than 1923 and 1883, one of my favourite films was Captain Marvel. It was such an amazing experience for me because I knew nothing about Sci-Fi or how you built and moulded things, using fabrics that were not natural. We were using plastics and we were really creating this ‘other’ world and that was a fascinating experience for me, as well as the grand scale of it. I would love to do something like that again. (producers listen out!)  - I remember one of my tasks was to find a fabric that you could submerge in water without changing colour and or shape, so I had leathers and all kinds of plastics. I remember this one that had a costume that needed to be soaked for 24 hours because they had a scene where they were going to be in the ocean, so it had to sustain the same look.” 

Few people realize how creative the costume processes can be, there being so much going on behind [the scenes] that we don’t realize. One of the perks in a way is that costume, unlike some other film tasks, brings the creators close to the cast. 

“We are so close to the actors. We meet them at the fittings and we develop relationships; we speak with them about their characters. We become friends, for instance one of my close friends is now Colt Brown… [sometimes] they are not that aware of who their character is, but once they see their clothing, they are really able to become that person.” 

'1923' 

Acosta loves doing the research, she finds that she cannot always rely on the internet, so she is passionate about visiting libraries and studying old images and historical books, in particular, she has a fascination for indigenous clothing and being faithful to the authenticity, while discovering how the real people lived at that time and exploring their stories. Enthusiastic about creating the authentic Native American look from scratch, Acosta particularly enjoyed working on the costumes for Aminah Nieves (playing Teonna Rainwater) and Michael Spears (as Runs his Horse) for instance.

Acosta is hoping to win this EMMY, but not only for herself, but for her whole community, her family and even Tijuana as well: -

“In Tijuana, there are no programmes for costume design, not even when I was growing up but I want to open that up and say: ‘Hey you might be from Tijuana and you can be an émigré and come and work here [in the USA] and do the things that other people do’. Which I think is so important.  I would love to be a voice for that.  There is a big publication in Tijuana and they are so proud, so excited. It is a huge thing! No one from Tijuana has ever been nominated for an EMMY, as well as being a woman and a Mexican, so I am happy about it.” 

Gaby Acosta might be living her dream, but she still dreams into the future: - 

“Yes, this is definitely one of my dreams that is coming true, and I also have the dream to continue to be somebody who is a representative for my community that is not silenced.  Career wise, I dream of winning an Oscar. I would love to work on stories that are more [connected] to natives and indigenous people with Mexican stories. 

I think that is my dream, to do something in that field and to win an Oscar! That is my big dream!”

Latino Life wishes Acosta well!

GABY ACOSTA has worked on commercials and TV campaigns as well as : -

Fast and Furious 9 (2021) / 1923 TV series (2022-2025) / 1883 TV Series (2021-2022) / Captain Marvel (2023) / Fear the Walking Dead (Netflix) 2015 / Bad Boys: Ride or Die (2024) / The Conjuring 2 (2016) among others.