long forgotten, unused and left empty other than
the splendor of the architecture and a few items of
furniture covered with dust sheets. These scenes
in the film sere as poetic ignettes, shown from
the point of view of Diana and strangely evoke a
symbolic representation of the Royal family's past
glory, diminishing power and inuence, as well as
a growing vulnerability in a modern world.
For the areas of the household that are more
traditionally dressed, set decorator Yesim Zolan
shipped selected furnishings from UK prop houses
and supplemented this collection with items
sourced in Germany. The Royal family's deep
ancestry is portrayed in this vast collection of
beautiful artifacts. Yesim and I worked together
D. A COLLECTION OF
MODELS FOR VARIOUS
LOCATIONS AND SETS.
CREATED BY KATJA FISCHER.
E. CONCEPT ART OF DIANA'S
DRESSING ROOM. A HALL OF
MIRRORS FORCING DIANA TO
SEE HERSELF FROM ALL SIDES.
ART BY GUY H. DYAS.
F. THE BOYS' BED CHAMBER
SET. PRODUCTION STILL BY
PABLO LARRAIN.
G. PHOTOGRAPHS OF
THE ACTORS PLACED
INTO ANTIQUE FRAMES.
THE SET DRESSING AND
PROPS DEPARTMENT WERE
METICULOUS IN EVERY
DETAIL. PHOTO BY JAN ROTT.
E
F
G
