Article by Jazz Tangcay | June 13, 2023
"Alex has had burdens and she’s made choices that cripple her. Her move to L.A. is to start with a clean slate. Part of her story is presenting herself to the world as if she’s capable, put together and controlled. Couple with the idea of purity of the white from the original film. Those two things worked psychologically. She’s matching her imposter syndrome. She’s trying to be present, as if she’s got her life completely together, when in fact, all she can do is keep things from unraveling.
Inside the cupboards, everything is chaotic.
There are select objects such as postcards that she loved from her childhood, and horse figurines that are also part of her childhood. Those things are displayed that could be exposed to part of her personality. There’s restricted art in her loft, black and white, not triggering. It’s more about the texture and the surfaces that come through the hopeful vista of Los Angeles."
Article by Cathy Whitlock | October 21, 2021
"Key settings such as the dressing rooms, UBA office suites, lobby... all received a redo. 'We designed a brand new 12,000 square-foot set so we would not have to go anywhere on location,' says the designer [Nelson Coates] . 'All of the walls trade out with a different colorway for the executive suites, and it looks like a 24,000 square foot set...Working with set decorators Nya Patrinos and Shauna Aronson, [the designer] explains, 'It was stark white with no window dressings, so we landscaped the whole thing and furnished drapes, painted, added faux stone and marblework, and created some of the furniture.' A Ruhlmann entertainment unit was built from scratch as they wanted Italian style pieces that did not read 'prop house.' Paintings from the Lake Como region were added for a sense of history and affluence."
Article by Lawrence Yee | May 8, 2020
"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.'”
