From putting food on Victorian tables to dressing an entirely fictional town, TV designers bring our favorite stories and worlds to life.

At Variety‘s Virtual  FYC Fest Sponsored by HBO, some of television’s best production and costume designers sat down to discuss the ins and outs of their world-building for some of today’s most popular shows.

Speaking on the panel were Keith P. Cunningham, production designer of “Mare of Easttown:” Shiona Turini, costume designer of “Insecure;” Kate Bunch, production designer of “What We Do In The Shadows;” and Francesca Di Mottola, production designer of “The Great.” Jazz Tangcay, Variety senior artisans editor, moderated the conversation.

Bunch spoke to the expansion of the vampiric world of “What We Do In The Shadows.” In its third season, the series edged further into the human world as a fun contrast to the norm of the vampires. “We had a whole lot of new sets, but I loved being able to do the wellness center, which is normal life, like out in the world where the colors of everything are totally different,” said Bunch. “That was fun because it was like bright ’80s aerobics.”

Turini had fun showcasing character growth through the outfits seen in “Insecure” Season 5, focusing on Issa (Rae) in particular who “is finally successful.”

“I kept her print and patterns and color palette the same. And it’s pretty much been the same since Season 1,” said Turini. “I still worked in pieces from her past wardrobes or past closets but just cleaned it up a bit and tried to show her growth in cuts, shapes and minimize the pattern a little bit. Less t-shirts and grungy jeans.”

On the topic of designing during the pandemic, Cunningham and the rest of the production team for “Mare of Easttown” were sent home in the middle of shooting. When they were allowed back on set, the pressure was on to make the most use out of their limited time as shooting days were reduced to 10 hours.

“It sort of pushed the art department to present floor plans and concepts maybe even a beat earlier than normal so that the director and the DP could do shot lists,” said Cunningham. “Everybody really had to knuckle down and figure out what we needed in a day which was kind of great.”

Working for a show that relies so heavily on periodic aesthetics, Di Mottola often coordinated with “The Great” costume designer Sharon Long to ensure that the set and the outfits complemented one another. For one scene, in particular, Di Mottola developed a “marble room” to accompany a set of particularly colorful costumes, a vision that some team members couldn’t wrap their heads around until shooting day.

“No one understood where I was going with that,” said Di Mottola. “And finally, when the characters inhabited the room, it was like, ‘Oh okay, that works on camera, thank god.’ Inside me, I knew we had to do something that was really tacky.”