Emily Burack<\/span><\/p>\n<\/figcaption><\/figure>\nThough the masquerade ball is a lavish, big scene, the actual set on soundstage 4 felt much smaller and more intimate than I expected. In addition to getting to witness the filming of the moment Benedict spots Sophie from across the room, and introduces himself, I watched a few other masquerade ball moments: Violet meeting Araminta, Benedict arriving late and being chastised by his mother, and Benedict interacting with debutantes. Throughout it all, I couldn\u2019t stop watching all the extras, called \u201csupporting artists\u201d and was impressed by the level of detail in every person\u2019s look.<\/p>\n
When I spoke with Nic Collins, Bridgerton\u2019<\/em>s hair and makeup designer, John Glaser, the costume designer, and Alison Gartshore, the production designer, I asked how they brought the scene to life.<\/p>\n\n\nQueen Charlotte (Golda Rosheuvel) and Lady Danbury (Adjoa Andoh) on set.<\/span> Netflix<\/span><\/p>\n<\/figcaption><\/figure>\n\n\nPosy Li (Isabella Wei), Rosamund Li (Michelle Mao), and their mother, Lady Araminta Gun (Katie Leung).<\/span> Netflix<\/span><\/p>\n<\/figcaption><\/figure>\nPlanning for the masquerade ball began in pre-production\u2014in fact, it started with crafting mood boards on their first day for season four. The costume team created 172 looks for the masquerade ball, among them king and queen chess pieces, a sheep, a rabbit, a horse, and the sun. \u201cIn previous seasons, balls have a theme and we vaguely follow that theme,\u201d Glaser says. \u201cBecause we\u2019re used to giving them a theme, I thought it should all be Violet, because it\u2019s Violet ball, but then George [Sayer, assistant costume designer] said it would look like a cult.\u201d<\/p>\n
He continues, \u201cThen we start to think about what\u2019s available and how many people there are. We actually thought the people from the town would come to the ball, so it would be a mixed match of everything, which is what we tried to do. We didn\u2019t want it to look like a Venetian ball. We just thought of each person that would come, what they would make up at home. It\u2019s not a Halloween party, but at a Halloween party, everybody has made their clothes or borrowed clothes. It\u2019s just a mismatch stuff. And we wanted it to be exotic.\u201d<\/p>\n\n\nMy view of the Queen\u2019s throne.<\/span> Emily Burack<\/span><\/p>\n<\/figcaption><\/figure>\n\n\nThe wigs! Each one was sublime.<\/span> Emily Burack<\/span><\/p>\n<\/figcaption><\/figure>\n\u201cWe started making the wigs one by one, each one [we] decided the color, the style, the texture, the hair. The only thing at that point we didn\u2019t have was who was going to be wearing it,\u201d says Collins. There were some specific wigs they couldn\u2019t make until they knew which supporting artist would be wearing them, Collins explains. Ultimately, they made 160 wigs in total.<\/p>\n
Queen Charlotte\u2019s masquerade ball wig was one of the most elaborate, featuring a unique design that paid homage to the cosmos, a nod to the Queen Charlotte <\/em>prequel and symbolizing her love for George. The wig, per Netflix, \u201cincludes a heart-shaped outer cage crafted from hair and adorned with silver leaf, and inside sits a replica of the nuptial crown that George gifted her \u2014 also made from hair.\u201d<\/p>\nThis is her first season working on the Netflix drama, though she had worked on the prequel Queen Charlotte<\/em>, and to come in and immediately start working on the masquerade ball was exciting. \u201cYou\u2019re always wanting the opportunity to showcase [your work],\u201d she says, \u201cand prove yourself because you\u2019re new. So [the masquerade] couldn\u2019t be more perfect, from my point of view.\u201d<\/p>\n\n\nIt was hard to capture the scale of the studio compared to the intimacy of the set, but here you can see one supporting actor adjusting his costume.<\/span> Emily Burack<\/span><\/p>\n<\/figcaption><\/figure>\nFor production designer Alison Gartshore, she and her team began with the concept of a \u201cMidsummer\u2019s Night Dream.\u201d \u201cWe knew it was a masquerade ball, and we were very conscious that we didn\u2019t want it to become too macabre because the masquerade has a slight macabre feel to it sometimes\u2014that\u2019s how often it\u2019s portrayed, but this is the Bridgeton family. So it couldn\u2019t be that. It had to be very beautiful.\u201d<\/p>\n
She continues, \u201cWe arrived at the consensus that [the ball would be] Midsummer Night\u2019s Dream, midnight, woodland fairies. Then we start researching, we start getting images together, do mood boards, send them backwards and forwards, and you distill it down into the quintessential essence of what you want to do with the space.\u201d<\/p>\n\n\nThe drapes! They almost looked purple to me, but they were all shades of blue.<\/span> Emily Burack<\/span><\/p>\n<\/figcaption><\/figure>\nKey to getting that theme across in the space was an abundance of \u201cdrapes everywhere.\u201d The drapes were printed with an ombre color transformation, going from dark midnight blue to twilight tones. \u201cWe had a team of people gluing individual gems on there, so they would sparkle in the light [on] hundreds of meters of the fabric.\u201d<\/p>\n
Complementing the dramatic curtains were white florals. The flowers, Gartshore explains, were meant to feel like \u201cthe servants had gone out into the estate and just got whatever they could find\u2014ivy, twigs, birds\u2019 nests, the odd horn here and there, and they really kind of woven these garlands together from their own land. All the florals had to be white because we wanted to look sort of moonlight flavor to it. It ended up looking really quite magical.\u201d<\/p>\n\n\nThe florals were all white; the ballroom floor was painted blue.<\/span> Emily Burack<\/span><\/p>\n<\/figcaption><\/figure>\nThe standout of the entire set, however, was the blue floor\u2014which contains a hidden easter egg. \u201cBridgeton<\/em> does push the boundaries here and there, but we do always try and do things which they could have done,\u201d Gartshore says. \u201cSo they often used to do painted floor cloths for a space, or a theater piece. So they had paint, they had canvas, they used to cover the floors and do a paint a scene on the floors. That was quite a known thing to do. So, I drew a sky-scape that I thought would be beautiful to see them dancing on. Then it just struck me that actually we should put the constellation of love in there\u2014so we put the Cassiopeia constellation. It\u2019s just a nod to the storyline.\u201d<\/p>\nWhile Benedict and Sophie\u2019s story draws from the Cinderella fairytale, Gartshore intentionally did not look at the 1950 animated film or any subsequent adaptations. \u201cI thought about it,\u201d she says, \u201cand I thought actually sometimes when you see an image, it sticks in your head and then you can\u2019t get away from it. So it\u2019s better not to look. I just really concentrated on the Bridgerton<\/em>-ness of it. So for Lady Bridgeton, it just had to be very beautiful and very magical space.\u201d<\/p>\n\n\nYerin Ha behind the scenes of filming the ball.<\/span> Netflix<\/span><\/p>\n<\/figcaption><\/figure>\nDuring the rest of my visit to the Bridgerton <\/em>set, we spent time touring the brand new back lot, which spans approximately two acres and features the streets of Mayfair, homes, and shops. The amount of detail that went into each storefront\u2014even though audiences may never see it up close. Those details, Gartshore, are \u201cabsolutely vital.\u201d She continues, \u201cYou can get the overall space, but if the details aren\u2019t right or if there\u2019s not enough of them, then it looks very flat and dull and it looks like a set.\u201d I also got to see the costume warehouses\u2014yes, warehouses, plural\u2014where everything is made for the cast.<\/p>\n\n\nProof of life! Selfie, in my Town & Country <\/em>hat of course, on the show\u2019s new back lot.<\/span> Emily Burack<\/span><\/p>\n<\/figcaption><\/figure>\n\n\nInside the costume department.<\/span> Emily Burack<\/span><\/p>\n<\/figcaption><\/figure>\nDespite the awe and splendor of the costumes and the huge back lot sets, my favorite moment from the week came on soundstage 4, during the filming of the masquerade ball. Thompson and Ha were rehearsing the first moment their characters met. The set was cleared for them, so we were watching from video village just outside\u2014a series of monitors set up for various creatives to watch what is happening just beyond the wall.<\/p>\n
Ha, in her Lady in Silver dress, didn\u2019t have her mask on, and wore slippers; Thompson was in his costume. As they walked through the scene, they continued to check in with each other. I came away from my week on the Bridgerton <\/em>set with a greater appreciation for just how much work goes into a single minute you see on Netflix. And I can\u2019t wait to rewatch again and again.<\/p>\n\n\nYes, I watched this live. No, I\u2019ll never be over it.<\/span> Netflix<\/span><\/p>\n<\/figcaption><\/figure>\nYou Might Also Like<\/strong><\/p>\n<\/div>\n \u2018 The preceding article may include information circulated by third parties \u2019 <\/em><\/p>\n \u2018 Some details of this article were extracted from the following source www.yahoo.com \u2019 <\/em><\/p>\n","protected":false},"excerpt":{"rendered":"“Hearst Magazines and Yahoo may earn commission or revenue on some items through these links.” I didn\u2019t know what to expect when I arrived on the Bridgerton set in mid-October 2024. Though I had been writing for Town & Country for a few years, I had never visited a film or television set for the […]<\/p>\n","protected":false},"author":2,"featured_media":2258306,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_jetpack_memberships_contains_paid_content":false,"jnews-multi-image_gallery":[],"jnews_single_post":[],"jnews_primary_category":[],"jnews_social_meta":[],"footnotes":""},"categories":[25172],"tags":[437346,348497,343763,437345,383153,393624,23191,437344,355025,404476],"class_list":["post-2258305","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-entertainment","tag-alison-gartshore","tag-bridgerton","tag-costume-designer","tag-emily-burack","tag-luke-thompson","tag-masquerade-ball","tag-netflix","tag-nic-collins","tag-queen-charlotte","tag-yerin-ha"],"jetpack_featured_media_url":"https:\/\/celebrity.land\/en\/wp-content\/uploads\/2026\/01\/Go-Behind-the-Scenes-of-Bridgertons-Masquerade-Ball.jpeg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2258305","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/comments?post=2258305"}],"version-history":[{"count":1,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2258305\/revisions"}],"predecessor-version":[{"id":2258307,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2258305\/revisions\/2258307"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/media\/2258306"}],"wp:attachment":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/media?parent=2258305"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/categories?post=2258305"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/tags?post=2258305"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}