Dive deeper into this episode with exclusive sketches, production designs, and fun facts delivered directly from the Outlander crew.
Craigh Na Dun
Here are the blueprints of Craigh na Dun.
The Dog
The dog seen outside Claire’s hospital window is Cuilean, Ron D. Moore and Terry Dresbach’s dog in real life.
The Reverend’s Garden
An early rendering of Reverend Wakefield’s garden from the production design team. Frank’s point of view from the library.
The Inverness Courier
Only a small section of the Inverness Courier was seen on camera and for just a few seconds, but the art department spent hours crating this full front page.
Wee Roger
The camera lingering on wee Roger is no accident. When will we see him again?
Claire’s Dress
Claire’s dress was one of the first costumes made for Season 1, but it was never completely finished. “When Season 1 ended and Claire and Jamie were heading off for Paris, we needed a new costume for Claire. We didn’t have a cutter at that point, no real way to start a new costume, and we were up to our eyeballs in Season 2. I remembered this dress. We needed something that felt like a borrowed gown, and by this time we had really taken a different direction with Claire, using very different fabrics than we used on this one. We pulled it out, finished it off, and it was perfect. Did exactly what we needed.” –Terry Dresbach
Its embroidery was the genesis of the embroidery made for Claire’s wedding dress. “I picked up this old remnant on Portobello Road, and fell in love with the metal plate embroidery. I knew I wanted to do more somewhere, and when it came time to design the wedding dress, it absolutely had to be at the heart of the design. If you look carefully at the flowers and leaves, you will see the metal plate. Just amazing!” –Terry Dresbach
Le Havre Docks and Harbor
Le Havre Docks site plan and pre-production rendering from production designer Jon Gary Steele. The wooden cranes seen on the docks aren’t just set decoration, they served a practical purpose as well—covering up modern lamp posts! More rendering for the docks.
Comte St. Germaine & His Crest
“This is the first costume we see worn by a member of the Parisian aristocracy, so it was very important. We introduce Paris with the Comte in this scene. He needed to show us that we were in a completely new world. Color and decoration as we had never seen it before on Outlander. We chose to dress this very elegant, and very dangerous, man in a pink waistcoat. I have always loved brown and pink together, I think it is a very rich and sensual color combination. The brown grounds the pink beautifully. Turns what is traditionally seen as a very feminine color into something very different. This was also very early for us in our venture into embroidery. I think it turned out beautifully, we were very excited by the way this costume turned out.” –Terry Dresbach
Le Comte St. Germain’s crest, created by the art department. If you look closely, it can be seen hanging above the Comte’s wine warehouse and stamped on his wine barrels.
In looking for an authentic sound, Outlander composer Bear McCreary discovered the historical figure Comte de St. Germain, which the character is based upon. Among his many skills, the real St. Germain was also a composer and wrote music. “I actually had my music historian pull up some old music of his and I found a piece that I liked, so he wrote his own theme. The guy, when he’s on camera, the music that’s being played is his theme that his character actually wrote in real life.” –Bear McCreary.
