Dive deeper into this episode with exclusive sketches, production designs, and fun facts delivered directly from the Outlander crew.
Wardrobe: Brianna Time Travels
Co-Costume Designer Terry Dresbach on Brianna’s time travel clothes: “Her costumes leading up to her time travel were deeply personal for me. Her ‘through the stones’ dress was quite the dilemma. We had previously decided that Claire knew too much of life in the eighteenth century to think that a “Jessica Gutenberg” (Gunne Sax) dress would pass muster, but I knew how much it meant to the fans and made the case that we should have Brianna wear it. There was no way we were going to have her make something—we had done that with Claire—and, as a headstrong teenager, I could believe she’d shrug her shoulders and say, “this will be fine, I’ll just wear my cape over it”, in that casually unconscious way of teenage girls, and so we made a version of a cape I had in 1971. We established it in North Carolina at the festival, so it didn’t just pop up out of nowhere. I reminded the writers that it was all wrong for the eighteenth century and people should look at Brianna strangely because of her clothing—we would need to get her out of it quickly, before someone threw her in a madhouse or a brothel.”
I always knew I wanted to get her into Claire’s old clothes. Clothing was too valuable a resource to discard casually, so I knew we could justify it still being around—that would be absolutely normal—and the idea of Brianna wearing Claire’s old dresses and her jacket was just too impossibly wonderful to pass up. I think it is a beautiful visual connection between a mother and her daughter, an emotional thread that every mother and daughter will recognize.”
Wardrobe: Roger Time Travels
Said Co-Costume Designer Nina Ayers on Roger’s time travel outfit: “Roger’s eighteenth century looks consist of his late 1960’s/70’s wardrobe which ‘he has done his best’ to transform into something which resembles what he believes could pass as eighteenth century. The look was made to fit in with sailors and a general population as opposed to high society. His old check shirt becomes the stock, the bobble is taken off his woolen hat, he finds a ghillie shirt and takes the sleeves off his Scottish jacket worn to the festival to turn it into a waistcoat. His cord suit is variously adjusted and finally his duffel coat undergoes some crude remodeling. We kept seams raw cut and top stitched to indicate the maker doesn’t have vast sewing skills.
Added Ann McEwan, Make-Up & Hair Designer, “The first surprise when people see Roger back in the eighteenth century is that he has shaved to fit in better (it wasn’t customary for gentlemen to have facial hair at this time). Makeup was used to ‘weather’ his face and hands from the time we see him on the Gloriana.”
Fran Randall is Back… The Memory at Least
Executive Producer Maril Davis on the flashbacks to Frank: “As we brainstormed what Brianna would have been thinking about on her dangerous, lonely journey from the 1970s to the eighteenth century to find her mother and her birth father for the first time, we thought she would be thinking of Frank, the man who raised her…memories being conjured. We wanted to explore that struggle and conflict, remembering the day he died and wondering whether she would be betraying his memory by accepting a new father figure. We also loved the comparison of Laoghaire and Frank, who both loved and lost and suffered the terrible effects of unrequited love, linked in a beautifully tragic way. There is also an ‘Easter egg’ in the Frank story—we show that he has found the obituary for Jamie and Claire that Brianna finds several years later.”
The Gloriana
The interior of Stephen Bonnet’s ship, the Gloriana, is the same boat that was the hero ship of Season 3, the Artemis. The set was sent back from the Cape Town film studios to Scotland on a ship.
