"There was so much to do, and it really pushed the team right to the very limits. The new backlot at Shepperton had to be intricately designed and constructed to transport actors back in time to Georgian-era England with horse-drawn carriages trotting down worn cobblestone roads. Then we also had to design the Queen's World set of rooms, which was an absolutely enormous undertaking."
"I think we increased the number of florals that we used in seasons three and four because they just become part of the language. Bridgerton's beloved gossip columnist Lady Whistledown pulls no punches during social season, when society's elite bop around to balls and banquets in search of meeting their perfect match, so the production had to prepare for masquerades like the ones found in fairytales."
Bridgerton Season 4 expanded production to a new two-acre backlot at Shepperton Studios outside London, requiring significant design and construction work. Production designer Alison Gartshore oversaw the creation of Georgian-era settings featuring horse-drawn carriages and cobblestone roads, along with the Queen's World set of rooms. The production increased floral elements used in seasons three and four as part of the show's visual language. The team created elaborate masquerade settings and whimsical designs throughout the series. Hand-painted optical illusions were incorporated into various sets. Character spaces, including Benedict Bridgerton's bedroom, were meticulously designed to reflect personality and narrative elements.
Read at Architectural Digest
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