Keeley Jones Gets a Fabulous New Office on Ted Lasso Season 4

If we must return to the office, let’s hope it’s as fabulous as Keeley Jones’s is in the new season of Ted Lasso. As the chief marketing officer for AFC Richmond’s Greyhounds and Lady Greyhounds, Keeley, played by Juno Temple, requires a space suitable for both business meetings and cozy heart-to-hearts. Where else would Coach Lasso, played by Jason Sudeikis, feel comfortable enough to sit and update his dating app profile?

“Keeley’s new office is trying to gather all these different sides of her personality,” says production designer Paul Cripps, who’s earned an Emmy nomination for each of the Apple TV series’ previous three seasons. “A lot of the pieces are modern, but they have a touch of kitsch about them, and in the wrong setting they would not work. I think interior design has moved on where sometimes it crosses borders of taste, because nowadays, people feel like, ‘I’m going to have what I want, even if it’s not deemed to be the taste of everybody.’ People are slightly less afraid of being judged on their own interior design. That’s the way Keeley goes.”

Fans will recognize some décor carried over from Keeley’s previous offices, most notably the pink ceramic leopard she’s named Trixibelle. The U.K. seller, Dogwood Lifestyle, manufactures the limited-edition statues officially known as Frenchie in Italy, based on vintage ‘80s designs (Temple owns one in real life as well). Yet Keeley’s overall aesthetic has evolved from the light pinks and creams of her private PR firm digs to the bolder hues and gold we see now. In part, that’s a nod to her savvy boss and best friend, Richmond owner Rebecca Welton, played by Hannah Waddingham, Cripps says.

“This would be a chance for Keeley to say, ‘Yes, I’m like Rebecca. I am a high-worth businesswoman,’” he explains, adding that he purposely clothed Keeley’s walls in the same Dutch-brand wallpaper as Rebecca’s office, Eijffinger’s Unify collection, albeit in a different color. “I felt like she wanted to go away from baby pink, which has a feeling of adorableness and, perhaps, people weren’t treating her in a serious enough way,” Cripps says. “So, we picked a color that had a feel of pink but was darker and more businesslike.”

The maroon weave added texture, which was, overall, the key to making the small studio set feel larger. Designers Guild chenille and bouclé in peony were used to reupholster a Brice sofa by Eichholtz from Pavilion Broadway and an Aviator loveseat from Atkin and Thyme, respectively. A two-toned Art Deco sideboard and cabinet from Picture Perfect Home are fluted, as is the base of Keeley’s custom-built desk, which has a faux marble top painted by scenic artist Aimee Bunyard. Her team also added gold to the abstract paintings that were created by the show’s graphics department. Alongside those canvases, feathers form a large floral wall sculpture.

Lamps, too, were chosen to create interesting shapes and dimension, from the terracotta pink ribbed floor lamp from Picture Perfect Home and ribbed table lamps from Casa by Josephine Jenno to Richmond Interiors’ tri-disc Aidan sconces. “They just add another layer of interest,” Cripps says. “I suppose Rebecca’s lamps are straighter and more finite in terms of style, perhaps simpler in a way. But Keeley, you can have more fun with.” See also: The Picture Perfect Home pink resin and plastic poodle table lamp, the whimsy of which complements the fierceness of Trixibelle and a pink panther coffee table from Bold Monkey.

Keeley’s affinity for animal print abounds. Leathaire Art Deco-inspired guest chairs from Picture Perfect Home have been reupholstered in a stylized leopard print recalling Jane Churchill’s Cleo, while Keeley’s own high-back desk chair from Cult now reads as pink python. Accent pillows on the sofas are in Pierre Frey’s velvet Montcel, another spotted motif woven on a 19th-century perforated cardboard loom.

Cripps enjoys the freedom that comes with designing for a character like Keeley— “her office is kind of somber compared to some of her beautiful outfits,” he quips—but he does admit there are limits. “We did have some kind of gold columns, which framed behind her. Even I was a bit unsure about them,” he says with a laugh. “Jason was like, ‘No, that feels too much.’”

Sudeikis had at least one request for the space: He asked that the “Keeley Jones, Woman on Top” article be framed and prominently displayed. “It’s something that Keeley is very proud of, but that also slightly haunts her,” Cripps muses. “It’s something that she has to live up to.”