Dive deeper into this episode with exclusive sketches, production designs, and fun facts delivered directly from the Outlander crew.
Paris Apartment
“I tried to design the Paris Apartment to reflect what was happening in Paris at the time that Jamie and Claire arrive in France. The 18th century was the height of design for Art, Architecture, and Fashion. Between Set Decorator Gina Cromwell, Assistant Set Decorator Stuart Bryce, Supervising Art Director Nicki McCallum, myself, and the whole Art Department, we researched 18th century Paris while still filming Season 1, to get the details right and make it period-correct architecturally. We wanted to show the meticulous attention to detail in the architecture of Paris at the time and show what a decadent and sexy period in history this was. We’re also showing a direct contrast to Season 1 in Scotland.” “I wanted the apartment to have hallways surrounding the larger rooms to give the rooms more depth and allow the Director & Director of Photography room to move the camera from the hallways through large openings and into the interior living and dining rooms. We had over 250 linear feet of tapestries printed to cover the hallways and give them a golden glow. I wanted a built-in daybed for the parlor, because I had seen several in research and though it could be a sexy niche for Claire and Jamie to lounge in and look back on their guests at parties. The back wall panel of the daybed swung open as a camera portal.” –Jon Gary Steele, Production Designer
“To give each room its own distinct look, the walls were covered with intricate wall moldings made of plaster. Some simple moldings were made of wood, but plaster men and women cast many different moldings, including the very intricate corner panel molds and ceiling cornice, because this method is much more cost effective. We used many different corner pieces that put a French flourish on the corners of the wall panels. The oval molds with the added French flourish were cast for the pilasters in the parlor.” –Jon Gary Steele, Production Designer
The Dior Dress
The Dior Dress “We call this dress ‘the Dior,’ in our department as it is based on one of the most famous pieces of fashion in history, the Bar Suit, designed by Christian Dior in 1945. We based the design of Claire’s costumes on the great fashion designs of post war Paris. We looked to Dior, Balenciaga, Balmain, and Charles James. Claire was a woman of their time, not the 18th century. We thought she might choose cleaner stronger lines over the ornate, embellished fashion of the French Court.” –Terry Dresbach, Costume Designer
Skyline and Steps to Apothecary Shop
Early renderings of the 18th century Paris skyline and the steps to Master Raymond’s Apothecary from the production design team.
The Red Dress
“The red dress is made of 15 yards of blood red silk. The incredible volume is created with panniers, and by using cartridge pleating. Tiny little pleats that allow for the greatest amount of volume. The skirt is about 5 ft. wide. Small by mid-18th century standards.” –Terry Dresbach, Costume Designer
