Dimensions, in particular, proved tricky when ordering pieces remotely. “I don’t know if we would have done that if we had the option to go to antique markets,” she points out. But then, says Cromwell, “the script changed and we had to pivot.” With the introduction of the Sharma family in season two, she says, “we needed a new color.”Ĭromwell and her team furnished the sets while shooting during lockdown, so much of the furniture and accessories was bought on antiques websites. To start, that meant a pastel terra-cotta shade, a pistachio green, and an apricot hue. “We allocated colors to different families like football teams, so the audience knows where they are right away in season one,” Cromwell explains. She started with base colors for each family in the show. You must get yourself excited on each new set as it comes along.” “It’s a lot of people going to parties and balls. “You must fill the well endlessly to reinspire yourself, especially with a show that’s repetitive in what it does,” she says. To Cromwell, the goal is to stay true to the vision of the mood board, but allow room for experimentation before arriving at a final look. Set rules-but leave space for development and trying new things.
“It has to be a mix between practicality and goals,” she says. “We play with it until we get it to a point that’s achievable.”Ĭromwell and her team don’t overload mood boards with images she considers “entirely fanciful”-instead, she suggests sticking to the basics of what makes a room shine. “When we start with research for the rooms, we get samples of colors, there’s a lot of removing and adding,” Cromwell says.
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