Issue link: http://digital.copcomm.com/i/1381679
8 0 P E R S P E C T I V E | M A Y / J U N E 2 0 2 1 When I was asked to design Bridgerton in January of 2018, I knew back then that it wasn't going to be the run-of-the-mill period drama. During my initial conversation with Chris Van Dusen (the showrunner) and Shondaland, it was made clear tat a dierent ara t erid dramas ad designed in the past was required. Instead, unlike the usual aging of sets and muted colours associated with shows like this, I would be tasked with bringing the regency period to a young, fresh 21st century audience. To create a big, bold, lavish, sexy world, which goes beyond classic period-drama viewing. Flirtatious, witty, smart, fun, appealing to an international multicultural audience. Bridgerton follows the siblings of the Bridgerton and Featherington families throughout the debutant season. This refers to the traditional annual period when it is customary for members of the social elite to hold lavish balls and attend prestigious events. Within this period, debutants were formally introduced into society by presentation to the Queen at the Royal Court. Based on the original books by Julia Quinn, the story follows the characters as they attemt t find le and ltimatel temseles in regency London's high society. Each principal family needed to be instantly recognizable. Both houses were built to create strng identifiale alettes. er sae eter it was a location or a stage build, required an saling ealt t define te serri this period. Creating a narrow colour palette that complemented the costumes was at the heart of all the design decisions. This is where set decorator Gina Cromwell and her fantastic team, along with Alison Gartshore, the studio Art Director, rised reating te derle rld te Bridgerton family. Together, we ensured every element within the sets had synergy with the costumes as well as portraying the essence of the ridgertn name aent estalised deted and ertlessl elegant. Contrasting this is the Featherington family. Nonetheless interesting, but on the opposite end of the scale. We considered the nature of this family and how it could be depicted in their home. The A H e i g h t e n e d R e g e n c y P a s t i c h e B R I D G E R T O N B Y W I L L H U G H E S - J O N E S , P R O D U C T I O N D E S I G N E R A. BALLROOM CONCEPT SKETCH BY LEWIS PEAKE. A