Costume Designer Talks Season Fashion is as much an attraction as the wonderful cityscapes of Paris within the Netflix series “Emily in Paris,” but season-three costume designer Marylin Fitoussi insists she isn’t serious about starting any trends.

In actual fact, the show’s influence on fashion and the general public’s thirst for it have surprised her. “I didn’t realize completely what was happening. It’s probably higher this fashion, because I can work with no stress. My mind is evident and peaceful,” she said.

That being what it’s, she listens to the critics and thinks it’s positive that some people hate the show. Just a few of the criticisms that she agreed with were that it was not fashion and possibly featured too many prints, patterns and jeweled tones, but those are her style preferences.

“What they should say helps me to be stronger, and to make things worse in a certain way. To have had so many critics [sounding off] in regards to the previous season makes you grow. My mission was achieved. If 50 percent of the people loved the show and 50 percent hated it,

which means we provoked some form of a response. What I did was not neutral. You may prefer it or hate it, but it surely was an actual statement,” said Fitoussi, who took over the lead costume designer role for this latest season, succeeding Patricia Field.

Fitoussi’s hope is that one in all the takeaways is that her purpose in life just isn’t to do fashion. “I used to be creating characters and never attempting to make trends,” she said.

Having worked under Field previously, she approached the brand new season with much consideration for Lily Collins’ lead role as “Emily Cooper,” an enterprising and amusing American in Paris. Fitoussi said, “We knew we needed to make an evolution.

Now we all know the young American is staying in Paris. I wanted to point out how much she will embrace the French culture that she has been anticipating the past few seasons.”

There was quite a bit to unpack with that — literally. Fitoussi and her team had greater than 40,000 items between fashion and accessories. Valentino, archival looks from Jean Paul Gaultier and Christian Lacroix, Kévin Germanier, Grace Ling and Victor Weinsanto were amongst the many resources.

“It was like a museum, but we were very well-organized. A team of two were receiving and bagging every part that was received on the office, whether those items were loaned or purchased.

Additionally they kept straight all the dates for needed returns and which items could be used for photo shoots. We’re terribly organized. It’s like a military inside our showroom,” she said.

Accustomed to working between 15 and 17 hours a day — fairly often without weekend breaks — Fitoussi does so because she loves what she does and she or he desires to be a perfectionist. “I don’t count the time.

It’s not about glamour — in no way. Often you’ve got to get up at 4:30 within the morning to be ready on set. But when you’re not passionate, it is advisable to find one other job.

It is advisable to embrace completely this kind of product. It requires many hours [of work], much research and it is advisable to challenge yourself on a regular basis. If not, you may’t stay in your game. It is advisable to think in regards to the next step.”

The ”very clever, resilient and patient” Collins has a “mind that may sensitize many, many things at the identical time” like a mathematician. Increasingly confident in her role, the actress and Fitoussi can speak candidly with none hard feelings,

which has enabled Collins to be more subtle embracing different silhouettes and evolve her character on screen. Collins’ recall of each style she has worn through the show’s three seasons enables her to talk up if she feels a print or color are too just like a previous style.

“That’s been very helpful to push me beyond my limits and to interrupt boundaries,” Fitoussi said. “She’s a really deep person and respectful of all the crew on the set. She knows everybody’s name on set.”

Fans’ zeal for Philippine Leroy-Beualieu’s character Sylvie has delighted the middle-aged Fitoussi.

“For a girl of her and my generation, she stands out as the [type of] person we’ve been waiting for. She decided not to cover the results of aging on a body. In Season One, she had a scene where she could have had her arms and back covered.

She decided to point out the skin of a lady who was beginning to age. She was brave enough and willing to try this, deciding that they should see how her hands and body at the moment are. And she or he is a really beautiful woman,” Fitoussi said.

One other crowd favorite is Samuel Arnold’s coworker role as “Julian,” attributable to his strength, flamboyance and joyful character, Fitoussi said. “After I first met Samuel, he was very shy. He was wearing black or navy blue on a regular basis.

He didn’t wear any color at the moment,” she said. “Now he’s asking for color an increasing number of. He’s pushing me for more eclectic things and he wants me to take more risks with silhouettes.”

Season three features daring hues like neon lemon and acid green, in addition to unexpected combos of sky blue and red. Color is a personality in itself within the Netflix series and from the costume designer’s perspective, “Why not?”

Noting how the show’s creator Darren Star mused how France’s national colours for style were black, gray and white, Fitoussi said that may be a reality, but not one which she adheres to. “Why are we so ashamed and afraid about color?

What does it provoke in us? Can we feel too exposed?” Fitoussi said. “French people hate to be overdressed and to be the focal point sometimes. They need to be neutral. They need to disappear but at the identical time they need to have designer [labels]. I’m questioning why the French are so afraid of the colourful world and why so few designers are using colours.”

For the third season “a mirror game” was created between Collins’ and Leroy-Beaulieu’s characters that personified their love-hate relationship. Viewers will see how “an conceited, boastful Sylvie” can embrace color as boldly and confidently as Emily does.

In return, Emily can interpret her boss’ trademark high-waisted leg pants right into a signature form of her own. They borrow a bit from one another in admiration and competition and might signal an indication of respect without actually saying that, Fitoussi said

One other place to begin got here from Collins’ freshly cut bangs, which reminded Fitoussi of Jean-Luc Godard’s movies, the French Latest Wave and the enduring ’60s characters portrayed inside them. Working with only six weeks of prep time and solely on the primary three episodes of the third season, Fitoussi had much to assume.

She also only had two day of fittings with Collins. Essentially the most difficult challenge of costume design for this kind of series just isn’t knowing what the subsequent scene may entail — possibly an enormous runway show or a dressing up party — and all the time having to be on alert.

“It’s quite difficult to anticipate. We had racks with a bunch of party silhouettes, business outfits, running outfits and casual ones. We never know what the screenwriters are going to assume for her,” she said.

Born within the South of France, Fitoussi earned a level in textile design in Paris and stayed on in the town for 12 years specializing in 18th-century costume design for movies. She eventually moved to Mexico,

where she lived for 13 years starting at age 33 and have become emboldened with the liberty of blending colours and patterns. She moved back to France’s capital a couple of years ago to live and work on “Emily in Paris” with Field. This season she took on the lead costume designer position.

But whilst an adolescent fashion was a spotlight and she or he routinely dipped into her grandmother’s trove of vibrant looks from the ’50s and ’60s.

At 16, she had no qualms about wearing a few of her grandmother’s jackets and pencil skirts with stilettos, despite fellow students making fun of her. “I didn’t care.

I still felt confident in regards to the way I used to be putting clothes together and wearing clothes. It was all the time a press release for me to be different. It was not that I desired to be the alternative of others. I just needed that to be well with myself,” she explained.

Next up for Fitoussi is the second and third movies in a “Camelot” trilogy which are being led by Alexandre Astie. The plan is to finish those before the subsequent season of “Emily in Paris.” Fitoussi said the movies usually are not only “one other challenge,” but in addition, ‘It’s nice to flee from the style universe and do what I do know learn how to do in a period movie.”