Apartheid, an assassination, an avalanche, the Falklands War, and a palace break-in are just a few of the historical storylines in season four of Netflix Emmy-winning series The Crown—not to mention the long-awaited introduction of Princess Diana and the U.K.’s first female Prime Minister, Margaret Thatcher. The Buckingham Palace sets stay the same stylistically, and the designer says the other sets don’t necessarily keep up with the times. “Just as the ’60s didn’t suddenly go Austin Powers, we didn’t go Dynasty,” he says. Architectural Digest just released set images from the incredible Netflix series The Crown, and CovetED brings them to you with a twist, take a look!
The Crown’s original production designer Martin Childs creates his magic once again for this instalment spanning from the late 1970s through 1990, turning soundstages and country estates into Buckingham Palace, Kensington Palace, Windsor Castle, Balmoral, Mustique, and the HMY Royal Britannia.
The Oscar- and Emmy-winning designer and his set decorators Sophie Coombes, Alison Harvey, and Carolyn Boult also designed the Prime Minister’s digs at 10 Downing Street, the Spencer family estate Althorp House, and a royal tour through Australia and New Zealand. The production team worked on some 400 sets for the 10 new episodes (on Netflix now) and found it essential they did not all look the same. “Designing the historical sets is more of an interpretation because you have to make them all look very different from each other; that is the aim. If you follow the research, they will all look alike,” Childs told.
The re-enactment of the royal marriage is quite brief on the screen. The interior of Winchester Cathedral is substituted for St. Paul’s Cathedral and is the scene for the tension-filled rehearsal; the bride is shown here at Chelsea House before the nuptials. Much like the interiors, the gown, designed by Emmy Award-winning costume designer Amy Roberts, is a version of Princess Diana’s original wedding dress with a 25-foot train.
Prince Charles takes off for several weeks on royal duties during the engagement, leaving Diana to fend for herself at her new private quarters in Kensington Palace, where she spends her day’s roller skating to Duran Duran in the hallways and answering fan mail.
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The Concave Metamorphosis Mirror portrays a territorial dispute, where chaos is indulged and spread across simplicity represented by the clean slate upon which it takes place. A take on metamorphosis from both its literal and philosophical meaning, this luxurious mirror represents the removal of creative boundaries and tests the beauty ideal.
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