In Hulu’s new series The Great, the subject in question is none other than Catherine, Empress of Russia—before she was known as “the great.” However, thanks to a tagline that reads “an occasionally true story,” viewers know this is not your typical historical biopic. Starring Elle Fanning and Nicholas Hoult, the fancy fictionalized 10-episode dramedy opens with the arrival of the young German-born Empress Catherine, whose marriage to Emperor Peter III (son of Peter the Great) leads to an eventual coup.
Set in the Russian royal family’s Winter Palace via England and Italy, the show takes place against a lavish backdrop during the late 1700s. While the dialogue is satirical and modern, the sets, created by Italian-born and English-educated production designer Francesca di Mottola, stay true to the period, where gilt, gilt, and more gilt is the order of the day.
Di Mottola worked alongside executive producer Tony McNamara, whose Oscar-nominated screenplay for The Favourite proves he’s no stranger to the genre. “Tony was clear it’s not just about beautiful palaces, it’s about the characters and the attitude of how they live in their spaces that is authentic of the time,” Di Mottola explains.
After looking for a palace with majestic architecture that would double as the Russian winter palace, they settled on the Royal Palace of Caserta (Reggia di Caserta) in Naples, Italy. “We selected the palace because it doesn’t have a lot of movement to it and is more Russian baroque, classical, and very similar to the original winter palace,” she notes. It was used primarily for the exteriors; the formal Italian-style gardens (said to be inspired by the park of Versailles) were also an attraction. With 1,200 rooms and a theater modeled after Teatro San Carlo, it is considered the largest royal palace in the world. The interiors for the show (25 in all) ranged from palace living quarters to a candlelit dining hall to the theater, and were filmed on four sound stages at Three Mills Studios in London.
Preproduction planning also involved the color coordination of costume designer Emma Fryer’s often over-the-top garments and gowns, an essential element in any period drama. “We decided that the color palette was going to be very soft tones of light blues for Catherine to symbolize her naiveté while Peter’s colors were very much darker in tone,” details the designer. “His interiors were very dark and looked like the aftermath of a party.” Research was also paramount, and she immersed herself in Russian history and decor, though she notes that Catherine's quarters have a more "European vibe" which reflects her tastes. For the archbishop’s palace digs in the show, Di Mottola was inspired by the interiors of production designer and architect Renzo Mongiardino. “My whole office was covered in pictures, so I started narrowing it down, and suddenly the rooms took shape from my references."
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DiMottola and set decorator Tanya Bowd (who decorated the sumptuous sets of Victoria) sourced furnishings primarily from the antique markets in France, England, Italy, and Belgium. Over 200 pieces were reupholstered and made to look aged for the palace rooms, with items ranging from chaise lounges, chairs, and settees to mirrors, beds, and candelabras. “The gold leaf alone was massive,” says DiMottola. “We had really good prop makers, and the dining hall set was continually used for the different parties.”
Since Catherine had a keen interest in the arts (she collected thousands of paintings during her lifetime), the designers placed more than 260 paintings among the sets. “Catherine arrives in the salon, and the walls are covered with dark paintings, hunting scenes and uninspiring still life,” DiMottola says. Eventually those scenes are replaced, as the ambitious empress vows to introduce art and science to the Russian court. Stunning hand-painted chinoiserie wallpaper designs framed with gilt (created by the team’s scenic artist) form the art on Catherine’s walls in the bedroom, dressing area, and private salon.
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Perhaps one of the most buzz-worthy design elements of the show appeared before the program even premiered on May 15. DiMottola hired a sculptor to create a resin statue of Peter the Great riding a bear. After the faux statue was placed on the palace grounds for the shoot, it became a popular Instagram spot for tourists. “Introducing that statue and bringing it to the palace was absolutely incredible. It was very majestic and done in proportion to the palace,” says Di Mottola. “We weren’t worried about being historical or accurate, we were worried more about what the palace would look like for the story.”
