When Eloise moves out of her dorm room in the London College of Fashion, she finds herself a home in a bedsit accommodation that—much to her delight—recalls the nostalgia of the 1960s with its kitschy decor and pastel walls with textural decors. This space, which serves as an important setting for the film’s plot, had to be charming enough to capture Eloise’s attention but couldn’t be too richly decorated.

“It’s not supposed to be something that’s overly pleasant,” says Rowland, in an interview with Gold Derby. The production designer noted that he kept a “balance between sparse and appealing” with the use of textured wallpapers and treatments, so that “the frame can be quite empty, but you’ve still got detail in there”.

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When Eloise first walks into London’s Soho of the sixties, she’s greeted by the glittering sight of London’s exclusive Café de Paris. The visually dazzling setting is a grand sight and is a close replica of the glamour of the former nightclub, which has since shuttered its doors due to the pandemic. Outside, Volkswagen beetles and large billboards—including one advertising Sean Connery’s James Bond film Thunderball—recreates the charm of the 1960s.

Inside, the club’s famous double staircase is covered with a rich red fabric; the same maroon hue dresses the walls, which feature striking gold accents. Vintage wall scones add an elegant charm to the space, while a massive chandelier twinkles in the light. The production team even created an old-school telephone booth within the club. 

Mirrors and other reflective surfaces play an important role in the film, where the audience is able to follow Eloise’s rapt observation of Sandie. Rowland revealed that the mirrors in the Café de Paris were one of the hardest aspects of the set’s designs, having taken many attempts to adjust the right size and angle in order for the visual effect to work.

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Neon lights in colourful hues serve as a huge visual influence throughout the entire film, alluding to the bright signs that could be found throughout Soho’s narrow streets in the 1960s. The retro touch is present in the form of both fluorescent signs and mood lighting in the film.

Eloise’s bedroom is constantly lit up by flashing reds and blues, courtesy of the neon French bistro light outside her window. As her dreams venture away from dazzling spectacles and spiral down into a hazy nightmare, the shots are continuously bathed in neon blues, purples, and reds, forming a kaleidoscope of horrifying memories.

The familiar hues can also be found in Eloise’s day-to-day life—albeit in less harsh environments—whether it’s the bar she’s working at or the college parties that she attends. The heavy usage of neon lights picks up in the second half of the film, communicating an increasing sense of chaos to the screen and creating an electrifying visual experience.

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