"...As for the stores themselves, Guleserian reached out to retailers, who provided images of their logos and sometimes even store interiors. Aronson then painstakingly re-created them, down to the plastic hangers and teeny-bopper posters. Many of the clothes on the mannequins were created because she wanted to get them right and multiples were needed for the racks. While the store interiors were important during close-ups, the exterior storefronts served as a backdrop for the big musical number, complete with background dancers on multiple levels and yes, an ’80s balloon drop.
'We had to be really specific with our angles,' director Goldenberg explained, as only five stores had been redecorated. 'The idea was to make it as shootable as possible...”
Article by SDSA SetDecor
"Set Decorator Shauna Aronson SDSA stepped up for the third season to take us even deeper into the hills, into Nobles Hollar where Ellstin Limehouse’s BBQ joint and slaughterhouse have stood for generations…from which he rules the remote valley. The compound is a convenient place for disposal of human remains and hidden secrets, and a crossroads for illegal trafficking of any sort.
“We fully built the slaughterhouse and the BBQ joint on a mule farm in the middle of Green Valley, CA, and later created the cold room on stage,” says Aronson. The sets were impressively and thoroughly detailed. Showrunner Graham Yost reveals, “When we got a look at what they had created for the character Limehouse, we said, ‘That's where we'll set the climax of the season!’”
Aronson vividly describes the creation of this backwoods fiefdom... "
Article by Elizabeth Stamp | Sept. 22 2016
"...Blass teamed with set decorator and longtime collaborator Shauna Aronson for the project, which kicked off with plenty of research, followed by design presentations and 3-D models. Blass looked at financial firms in Charlotte, North Carolina, where the show is set, for inspiration. “I think it’s important we tie our world into reality, and Charlotte really is a banking headquarters,” he says. Layout was particularly important for the office set. Given the tight deadline, Blass relied on 3-D renderings to help the rest of the team visualize the designs. “We had three or four weeks to build everything, so it helps you avoid mistakes and get everyone on board very quickly...”