Dive deeper into this episode with exclusive sketches, production designs, and fun facts delivered directly from the Outlander crew.
We started working on Paris at the end of Season 1 and we were fortunate to be able to go on a location scout to France in September 2014. We visited the Louvre and Versailles to research palaces, but the main inspiration for the Paris apartment came from the Carnavalet Museum–a museum set in an old mansion which features design and interior decor from the 16th, 17th, and 18th centuries. –Gina Cromwell, Set Decorator
In a time where people flaunted their wealth, Jamie’s uncle is no exception. We used decorated damasks and velvets in the wall panels and gilded furnishings suitable to entertain the aristocratic society that Jamie & Claire are now in. The furnishings are a mixture of choice antiques from Paris and London, theatrical hirers, and good replica furniture which we had our scenic prop painters and upholsters transform. –Gina Cromwell, Set Decorator
Ron said he wanted Jamie to give Claire a christening gift. I was supervising production of the episode in Scotland, so I started working with the prop department to see what we could find that would be a traditional Gaelic christening gift for the 18th century. Dani Berrow, our historian, also came to me with options–some better known today like a gown or bonnet–but there were various other artifacts as well, including a set of Apostle spoons. The spoons were interesting and unique, so I chose to use them for a few different reasons. St. Andrew is of course one of the Apostles and also the patron Saint of Scotland, so I liked that connection. Gina showed me a photo of a replica 17th century set she found online and they were perfect. I then added a dialogue exchange to the script, where Jamie says he plans to have a child for each spoon and Claire is shocked to learn that he wants to have 12 children! It was a cute and funny moment between our ever evolving couple. We thought the spoons would be tiny, like traditional silver baby spoons, but they arrived and they were huge! Like giant soup spoons! We had a good laugh, but at least it allows them to show up on camera well. –Toni Graphia, Executive Producer/Writer
For Season 2, we in the Art Department were trying to show that there was no other place quite as beautiful and decadent as 18th century Paris. As always, the Art Department did weeks of research from paintings and etchings of parties or fêtes thrown by the King at Versailles. The Art and Set Decorating teams designed and printed striped tent fabric onto canvas to create two beautiful tents. The Prop Makers spent weeks making all the food displays and decorations. The food was made to look spectacular and ostentatious and as tall as possible to read well on camera, since it was placed in the background under the pavilions. We really went for a riot of color. It’s mostly real food–sugared fruits and pastries attached to the mounts with pearl pins and adorned with real, gilded flowers. –Gina Cromwell, Set Decorator
Both exteriors were actually filmed in Scotland. The formal gardens are located at Drummond Castle in Perthshire and the stables at Gosford House in East Lothian. There were over 85 extras on set for each location. Exterior Versailles stables, before and after. Visual Effects were used to make Gosford House resemble the Petite Écurie or “Petite Stables” at the Palace of Versailles. What everyone will discover about 18th century Paris is that everything was covered with amazing, elegant detail and a bit of gold! –Jon Gary Steele, Production Designer
The pink embroidered flower was not actually a part of the fabric. We were so tight on fabric that we had to embroider an additional pink flower to add to the previously blank spot. –Terry Dresbach, Costume Designer
King Louis’ costume is an exact reproduction of a suit given to the real King Louis by the King of Sweden, I believe. It was a bit later than our story, but we thought it was so absolutely wonderful we moved it up by a few years. –Terry Dresbach, Costume Designer
