What can we anticipate from Emily’s outfits in season 3?

Emily Cooper is returning. What will happen to the resourceful American and her companions is revealed in Emily in Paris 3, which will be available on Netflix on December 21. She was at a crossroads last year, deciding whether to continue at Savoir, which is now run by Americans, or to follow Sylvie and her coworkers to a new communications agency. She must decide between a long-distance romance with Alfie, who is moving to London, and trying to win back Gabriel, who has rekindled his relationship with Camille. The few scenes shown in the trailer don’t foreshadow this, but they do demonstrate that Emily will at least take one rash and drastic action. She will cut her own fringes, which will serve as a sort of metaphor for her Parisian life and a nod to Jean-Luc Godard films, the French New Wave, and the iconic 1960s characters portrayed in them. Not only is the young marketing manager’s new haircut a representation of how much she is embracing the customs and fashion of her host nation, but also how she has reinterpreted them to fit her own tastes and upbeat attitude. We were aware that we had to evolve. We now know that the young American is a resident in Paris. In a recent interview, Marylin Fitoussi, who took over as lead costume designer for the third season after Patricia Field, said, “I wanted to show how much she can embrace the French culture that she has been seeing for the past few seasons.

Fitoussi, who was up in the south of France, studied in textile design in Paris and remained there for 12 years, specializing in film costumes from the 18th century. After spending several years in Mexico, where she grew fond of mixing and matching various colors and patterns (as seen in the Netflix series), she returned to Paris to begin on Emily. Her enormous prominence was a result of the show. In fact, Emily, Sylvie, Camille, Mindy, and the other protagonists have been the center of attention for their appearances from the moment they first appeared. The public is split over whether they are too stereotypical, expensive for twenty-year-olds, or whether they are simply in love with them for the first time since Sex and the City. The approach Fitussi took when dressing the cast? “Rich tastes are too monotonous.” Despite her credo, the costume designer is not concerned in setting trends; rather, she just wants to dress the characters in ways that are appropriate for their personalities and that show how they have developed throughout the plot.

The pictures that have recently surfaced online promise us a fantastic run of impressive looks, particularly for Emily. For instance, in the playbill, she is seen wearing a pastel pink, fluffy dress from the Fall/Winter 2021–2022 Haute Couture line by Giambattista Valli, which is ideal for her character, who is both romantic and modern. However, in other scenes, she switches between metallic fabrics, such as a leather Dundas miniskirt, vibrant jumpers, floral prints, animal prints—such as those on a jacket created by di Dolce&Gabbana for SS22—checked bikinis with nods to the 1960s, maxi blazers, double-breasted suits, golden trench coats to wear over shorts, eccentric pieces covered in feathers, polka dots, and unexpected and dar Fitussi selected all of the pieces from a collection of more than 40,000 clothing and accessory items, which includes Valentino originals as well as vintage outfits by Jean Paul Gaultier, Christian Lacroix, Kevin Germanier, Grace Ling, and Victor Weinsanto.

Fitussi promises that Emily in Paris 3 will have a lot of color, as in previous seasons, despite the fact that the show’s creator, Darren Star, noted that the national colors of fashion in France are black, grey, and white. “French folks dislike being the focus of attention and being overdressed occasionally. They seek objectivity. They desire designer [labels] while also wishing to vanish. I wonder why so few designers use color in France and why the French are so afraid of the colorful world “The costume maker explained that she had made the decision to reinterpret French fashion in her own unique way, taking a risk with vibrant colors and attempting to contaminate Emily and Sylvie’s wardrobes. In the third, Sylvie will have the same audacity and assurance in her use of color as Emily. The American, in a constant game of rivalry and admiration, will dress in her boss’ high-waisted pants in a way that is uniquely her own. Curious? We will soon see Fitussi’s work’s outcome and how the protagonists of Emily in Paris’s styles have changed.

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