Inside the Set of Netflix's 'Bridgerton' Season 3 | Set Tour | Architectural Digest

my name is Allison Gart Shaw and I'm production designer for season 3 of Bridgeton I'm here to show you some of our sets today AC all right let's [Music] cut so here we are in the iconic Bridgeton drawing room and morning room [Music] this is a space that we've used over the three seasons it's a classic set for us the Bridget and drawing room and morning room was designed in season 1 by Will and Gina as you can see in the space at the moment we have a lot of floral dressing we are in the process of dressing this set to film in a couple of days time for a particularly special scene here we worked on the color palette particularly to reflect the warm friendly nature of the Bridget and family just a lovely space to be in a sort of space that you'd like to come and sit down have a cup of tea with Lady Bridgeton what about the Duke the Duke has not proposed M so when we started designing this set back in series 1 we looked at a lot of architectural referencing lots of stately homes we knew that we were going to be using the rangers house in Greenwich for the exterior location and so we had to match the window sequence to the location and we chose the columns to give a nice sweeping Arch so so that we could have the morning room and the drawing room in the same space and so we had the separation of the arch to delineate the two spaces so when we're thinking about designing a space uh for a show like Bridgeton we have to be very mindful of the entrances and exits for the action so we have two entrances here in this set so that we can get the flow of characters moving around the space the spaces themselves are so big that we don't actually need to have any camera traps or moving walls which helps us with our dressing so we're not constantly having to take walls in and out Jeff jur the lighting designer for the show designed the softbox system for all of our sets we always have the same soft box in the center of the space to light in a blanket way most of the space and then the rest of the lighting is done with highlights we do have to change elements in the set now and again when the script demands for example the beginning of this season we had to have a portrait of violet and her husband specially commissioned and hung above the fireplace as that was referenced in the script currently we have our team of dressers in at the moment we are in progress working progress as I say for a specific scene that we'll be shooting over the next couple of days as you can see we've got lots of cake dressing our home economist makes the cakes they're always fake you can't actually eat them usually they're on a poyene base but all the decoration that you see is handmade using fondant icing and real sugarcraft she's incredibly skillful as you see they're beautiful things the piano here that we have is an original piano Forte it's very old it's very delicate it needs tuning constantly so every day that we have to shoot somebody playing the piano we have to have the specialist tuner in so that it can be played because it's so delicate it loses its tune so quickly oh enough I beg of you the Bridget and spaces are quite iconic spaces we use the same moldings throughout our sets for the Bridgeton house if you look at all of the corridors that we have they all look the same and it gives us a visual hint that we're in the Bridgeton world the same with the color palettes all of the spaces will have roughly the same color palettes just to help the viewer know that they're in the Bridgeton house there are tiny details as well that our wonderful set dress has put in and our set decoration Department come up with for example in the Bridget and spaces you'll always see some shells don't know if you've noticed that so here we are in Kate and Anthony's new apartments fresh for season 3 we haven't seen these sets before this is Kate and Anthony's bedroom and for this set we wanted to obviously still be in the Bridgeton world because we're in the Bridgeton house but since they got married Anthony became the new Vic count and so of course they're now technically the head of the household so we felt that they needed a new Fresh space space so we created something that we thought was within the Britian world but a little bit livelier and a little bit younger in feel we had a Scenic artist paint our wall panels he did one of each set piece and then we recreated that and reprinted it graphically to run all the way around the spaces this is a seating area for Kate and Anthony and then we have the bedroom so predominantly in here we have the color palette of the Bridgeton which is the classic Wedgewood blue with the cream but we introduced a little bit more of a warmer tone cream slightly peachy cream actually for Kate and this whole Space is about the blending of Kate and Anthony's Family so it's Bridget and meets India we've brought in some of the warmer TOS which we had for Kate and edua last season and we've married them together with the Bridget and classic palette we've also got hints of purple in the graphics on the wall and the deeper pinks which were referenced in their costuming last season so the bed obviously is a classic English bed but we have played with the Fabrics a little bit we have the paisley fabric again classic Indian and then some of the detailing on the canopy we chose specifically some of the trims which we felt reflected Indian culture quite well without being too over the top with it it had to be a subtle reference really so obviously we have a dog bed over here which of course is for Newton our favorite Corgi dog which is Kate's dog who she loves dearly hints of India in the set dressing we have elephants Ivory lot of brass which you wouldn't normally have for the Bridgeton it's quite a feminine space I suppose because Kate is quite a strong feminine character so we felt that really their bedroom might reflect that more than Antony's very masculine character and through this way we have Kate's study and dressing room so the colors in here are warmer still so using the same palette but we've flipped the colors on the walls the peachy orangey color is more predominant than the Bridgeton blue Kate's now the head of the Bridgeton household so she has to have her own working space which is her desk here of course lady Violet hasn't stepped down quite yet the pictures especially in the study area you'll notice are all scenes from India we have referenced horses she loves to horse ride and over here we have new and the dog of course which was specially commissioned for us as a portrait so this is Kate's desk and one of the things that we do a lot of who spend a lot of time is the graphics everything is all calligraphy written if she's working on her accounts we have lots of accounts Pages which should you read them would be correct the graphics Department spend a lot of time referencing ephemera of the time and making sure that everything is period correct a lot of it is actually printed Ed but when we do need to handwrite something and see that in action we have to get calligraphers and they have to be body doubles for our actors of course because they have to match it has to look seamless as if the actor was writing in the script but it's very skillful very difficult to do and there's not many people who can actually achieve the fluidity that you need for those writing scenes so the drapery in Bridgeton is really important for us it's all historically accurate the set decorator Natalie Peppa Georg Adis she spends a lot of time decorating and researching and paying particular attention to all the window and curtain treatments there such a large part of any room in Bridgeton that we have to make sure that the color tones are correct for our palette the way that the light kicks off a fabric is really important for us a lot of fabrics look quite dead and dull on camera when they're lit so we try and stay away from anything like that and we choose Fabrics that are slightly shiny and have a Sheen so that the light catches beautifully and it helps to sculpt the space so when we're reading the script obviously if you know Bridgeton you'll know that there's quite a lot of intimate scenes throughout the series and not to give you any spoilers but we always have to make sure that where we have those intimacy scenes that the furniture will stand up to the job shall we say so we're here on the Bridget and set in the ca's new set for season 3 this is the ca's hallway the inspiration for the corridor here was s John SS's Country Manor which is pits hanger Manor it's all period correct strangely even though it looks more modern than it actually is we've got hand painted marbling everywhere there's a lot more details to see in the drawing room so let's go take a look so the ca family we don't know a lot about their backstory from seasons 1 and 2 we've seen creser quite a lot in seasons 1 and two how convenient Penelope I did not see you there we understand her to be quite a difficult lady she causes a few issues now and again so for season 3 we see more of the ca family we start to understand a little bit more about her backstory and her upbringing and the reasons why she maybe is as difficult as she is so the space that we designed really was to reflect the masculinity and the austerity of her father he's quite an overbearing character it turns out in season 3 and so we wanted the space to feel quite oppressive and quite domineering and we wanted her to feel very small in the space like a caged bird I suppose uh she's usually wearing very pink and frilly costumes so we wanted her to Ping off the darkness of the walls and the space in here so one thing that we have to do in these standing sets is to graphically design our rugs and have them printed we always have to make our own rug rugs because we'll never find a rug of the right color and design of the right size for a space uh the bookcases you see they're very tall deliberately um we had a scene where one of our characters wanted to look at the books and creser was very nervous about that because she's not actually allowed to touch the books being a woman it's not her place to touch the books so we made the bookcases very tall to make them feel very imposing for her and to fill the room but actually most of the books are fake so all of these are just the backs you can see nothing there where we need to pick a book up in action we'll put real ones in so that a character can pick something up and it looks real for the camera but that's always preset depending on what the director where he wants to place his shot sorry about the noises you hear in the background the second unit are in they're shooting some scenes from The Bard room that we just shot last week so the columns they're actually fiberglass as you can hear and they're all hand painted with a marble finish we've got very very talented painting team on the construction guys in fact a lot of the finishes that you see on our sets are painted all of the wood grain on the doors on the bookcases it's all hand painted and we do that mainly because if we tried to make this with real wood veneer it would take a hundred times longer and it would cost an awful lot more so we have to cheat that's the name of the game we're not making reality we're we're cheating reality but they do a remarkably good job and I think you'll agree that you can't really tell the difference another thing that we always have to consider are the fireplaces in our sets being a period show the Main Heating in the house would have been open fires oh must be around like statues we look at period fireplaces and we pick the details that suit the space this is all made out of Timber and then it's painted and marbled to look like a marble and slate fireplace our special effects team had to devise a new system of creating a real fire in our fireplaces because we're in a big warehouse space and we're not allowed to vent noxious gases through the roof of the building so we had to figure out a system whereby we could have real flames and they use a some kind of a bioethanol fuel I'm not exactly sure what it is it's special mix I believe that doesn't give off any gases so there's no need for us to have a ventilation system which was fantastic because that would have been quite tricky with so many fireplaces in [Music] space so here we are in the featherington main hall and staircase case as you can hear next door we are in the middle of constructing a new set sorry about the noise the featherington family obviously their color palette is the citrusy yellows and greens and they're also very very much highly decorative so we spent a very long time designing all the plaster works on the walls here and it's a completely over-the-top treatment really you don't normally see this many plaster Works in a space lady featherington is very concerned with how other people see her she's very shallow she's all about wanting money wanting power and Status wanting to get her daughters married off we reflect that in the way that we decorate their spaces they're always highly decorated and we call them in arting the Kardashians of the Georgian era so the furniture in here is um as you can see sort of black and gold verace style based on a designer of the time called Thomas hope and he did a lot of black and gold and Egyptian influenced furniture and we felt that that reflected their characters quite well it's very intense it's very in your face it's very versari so here we have the actual staircase which is a suspended staircase which means that there aren't any internal supports so it's all hung from the exterior walls which you sometimes find in Georgian architecture the iron work we didn't have made we pieced it together from existing companies obviously the symbol for the featherington family is the butterfly so we decorated the staircase with butterflies usually we use fake flowers for our floral displays simply because they have to last for several days worth of filming usually under quite hot lighting conditions and you find that if you use real florals they tend to droop and wither over the course of the shoot so if anything was shown in real closeup or if anyone had a bouquet as a hand prop they would be real perhaps make the bouquet even bigger the bridet and spaces are quite iconic spaces from time to time there are small changes to the sets but by and large they do stay the same as a standing set so when we started designing the set we were looking at all the different architectural elements that we wanted to bring in here when we're constructing a set actually the Carpenters do their work first they put the walls up they put the flat up then the plaster has come in they plaster finish everything then the painters come in after the plasterers so it's like a conveyor belt start to finish a set might take 6 to 8 weeks if it's this size for a ballroom it would be more like 10 to 12 weeks they do a remarkably good job

Channel: Architectural Digest

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Id: Qy9mDz8eXbA

Length: 16min 22sec (982 seconds)

Published: Tue May 14 2024