Name: Touring the Set of 'Bridgerton' Season 4 | Architectural Digest
Uploaded: 2026-03-06T09:12:26.000Z
Duration: 15 min 40 s
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My name is Alison Gartshaw and I'm production designer on season four of Bridgerton.

Here we are in the Queensworld Conservatory.

The space initially was only going to be so that we could light what is behind this wall, which is the corridor.

We needed a set of windows that we could push light through.

But when we saw the size of the space on the drawings, we kind of thought, actually

that's too big to just have as empty space.

So we decided to come up with the idea of a conservatory for the Queen.

The conservatory is an interior space, but really we're suggesting that this wall is an exterior, exterior wall.

They often used to have winter gardens within the walls of the palace and it would be lit by skylights somewhere they could feel outside, but

actually they're inside and protected from the cold and the weather.

I pay my maids well and treat them with respect.

I'm Hugh Sachs and I play Brimsley in Bridgerton.

When we did the first season, none of us had seen anything like it on Bridgerton.

Every time you go to a different location or to a different set, you are just amazed, really at the caliber of the artistry.

It's small and contained, but also some really moving parts of the Queen's story happen there.

We have here a Bon Bon tower, which is a classic thing for our Queen Charlotte.

She loves her bonbons and we normally do them in the format in the shape of a cone, which is how they used to pile them up.

Decorated with edible florals and raspberries.

As you can see, she's got a bit of a sweet tooth, the Queen.

This space is designed using trompe l', oeil, which means deceiving the eye.

And it's a theme that runs throughout season four of Bridgerton.

It mimics the fantasy versus reality that threads through the storyline.

We had a scenic artist who came in and painted all of these panels to look like they're 3D, but

We decided to continue the theme of the 2D versus 3D with these beautiful bird sculptures which we made up in house.

The centerpiece is a beautiful tiered fountain, but

instead of having running water, which of course isn't very good for sound, we decided to make it into a sculptural floral display instead.

The Queen loves her florals, she loves the colour, the scents of the flowers.

Here we have the chinoiserie, which is the 2D chinoiserie.

Another of our scenic artists painted all of these items individually and then they were all printed and graphically applied.

And we do that quite a lot as a technique because then if we need the same motif somewhere else, we can easily replicate it.

And all the gold leafing was done by hand.

If it's a fake gold leaf, obviously we're a film set, but

normally in other spaces, we wouldn't do gold leaf work, we would do gold paint because it's just more cost effective.

But we felt Queen's World had to be elevated to her status and she would have nothing less than pure gold leaf.

The flooring for the conservatory is actually a recycled element.

This was actually Will's Gentleman's Club flooring.

So this is one of our proper floors that we have on the sets.

Lady Danbury's going off on her travels and the Queen is reluctantly letting her go.

As I said, I desire a return to my homeland and why do you wish to leave me?

I always describe Brimsley as in charge of the Queen's hardware, like her day to day life.

And Agatha is in charge of her software, her emotional life.

It's incredibly moving because the way Golda plays it is.

She sort of unravels at the prospect of losing her best and only friend.

And Brimsley is desperately trying to persuade Lady Danbury not to go.

We've got a lot of galleon imagery to represent that journey that's about to happen.

And for this particular piece, we asked our florist, Philip Corr, to design and make a floral seascape for the ship to be bobbing away on.

The guests are coming through that doorway, up the stairs and into the ball itself.

So this is one of the first things that they see when they come into the ball.

We specifically chose the blue turquoise of the walls that would go beautifully with the gold.

We knew we needed a lot of gilding in here.

As part of my research, I've visited lots of the stately homes and palaces in the country and thought about what made a palace a palace.

It had to be elevated from what we normally see in Bridgerton.

Also the level of mouldings and details had to be right.

They used to highly decorate all of the available spaces.

Lots of gilding, lots of strong colour, and

this gorgeous turquoise fabric, which actually we had printed in India.

If you visit stately homes and palaces, you will often find that there's a series of staterooms leading to a big banqueting hall or a big hall.

Palaces were laid out in that way, so that depending on how close you were to the monarchy, depends how far you got through the staterooms.

And the closer you got to the King or Queen's bedchamber, the closer you were and the more trusted you were.

A lot of the inspiration for these rooms were places like Buckingham Palace, Windsor Castle, Petworth House, all the very big hitters that we have in this country.

So over here we have a couple of technical drawings.

This is a ground plan and it shows all the space as if you are a bird looking down.

And it shows the outline of the walls and the thickness in between the walls and the layout.

So you can see that all of the rooms interlink through the doorways.

If we wanted to, we could do a circular walk and talk through all of the different spaces.

And this is what we call a set of elevations.

So you have the ground plan in the corner, and

then each and every wall has an elevation which gives you all the detail that needs to particular wall.

Once we've got the elevations, then we go into the fine detail.

And every single thing that you see in the room has been drawn by an art director or an assistant art director.

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Touring the Set of 'Bridgerton' Season 4 | Architectural Digest

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