“Emily in Paris” wouldn’t be the same without several key elements: Lily Collins as the unstoppable lead, Emily Cooper; the impossibly glamorous Philippine Leroy-Beaulieu as her sharp-tongued boss, Sylvie; the musical talents of Ashley Park’s Mindy; the picturesque backdrops of various European capitals; and, of course, the costumes.

With her Eiffel Tower-printed blouses, eye-catching berets, mix of high and low hemlines, and nods to Audrey Hepburn, the Midwestern marketing executive certainly made an impression in Paris—and has continued to raise the style stakes ever since. Last season, after moving to Rome, there was a wave of “Roman Holiday” homages. But when we catch up with Emily this time, she’s much more at home in her new city. The clashing prints and occasional impracticality are still there, naturally, but there’s also more structure and grounding—more suits and jumpsuits, more trousers and shorts, scarves tied at the neck to guard against “colpo d’aria” (a draft, as Emily explains), and more flats, all paired with Collins’s sleek new bob.

Behind this Roman transformation is twice Emmy-nominated French costume designer Marylin Fitoussi, who has overseen the fashion for Darren Star’s Netflix hit from the beginning. (Patricia Field of “Sex and the City” and “The Devil Wears Prada” fame served as a costume consultant for the first two seasons before passing the torch fully to her esteemed colleague.) When I meet the vibrant Fitoussi on Zoom—wearing bright red lipstick, a striking black headscarf, and a shirt with fluorescent frills—the inspiration for Emily’s style becomes instantly clear.

Ahead of the show’s return on December 18—and the release of her new book, “Emily in Paris: The Fashion Guide” (Assouline), with a foreword by Darren Star—Fitoussi walks us through her most unexpected inspirations this season, dressing Emily for a dazzling trip to Venice, and the supporting character poised to become a stealth style icon.

Vogue: When we see Emily in Rome, she looks very settled—she’s wearing more suits, prints, and little neck scarves. What’s changed about her style?
Marylin Fitoussi: It’s more elevated. We feature a lot of Italian brands: Dolce & Gabbana, Fendi, Moschino. The little scarves and other touches add a romantic feel. She’s more relaxed and sensual. For once, she’s chosen love over work, so her clothes needed to reflect that. There are romantic silhouettes too—’50s-style cuts, big tulip skirts. And Emily wears more red. It’s the color of love, passion, Louboutin soles, and power. This time, Emily breaks the rules and is totally fearless.

There’s also her new haircut—very sleek and modern—which allowed us to adjust the proportions of her looks to complement it. I also pay tribute to a lot of black-and-white, ’50s Italian movies.

Vogue: Which movie stars from that era inspired you?
Fitoussi: Sophia Loren—the films she made with Marcello Mastroianni, like “Marriage Italian Style” and “Yesterday, Today and Tomorrow,” as well as “Arabesque.” Also Silvana Mangano in “Bitter Rice,” Claudia Cardinale, and Anna Magnani. They’re icons with real style and personality. They wore a lot of polka dots, which you see on Emily this season too.

Vogue: The Audrey Hepburn references aren’t as prominent as last season, but they’re still there, right?
Fitoussi: There’s one look that has that Audrey silhouette—the cap…Emily wears ripped pants, a boatneck top, and ballet flats. It’s simple, sharp, and powerful—quite a departure for her. She learns from Sylvie that sometimes less is more, and you’ll see a few more looks like that. Emily is in more flats this season, too; she feels more grounded and mature.

Tell me about your other unexpected muses?
There was Juliette Gréco during her Saint-Germain-des-Prés days with Miles Davis—a very simple black look references that. The silhouette is so pure, it’s almost shocking in the show. There’s also a nod to Capucine in The Pink Panther, with a retro ’70s brocade coat by Huishan Zhang. And some ’70s Anita Pallenberg inspiration comes through in the printed jumpsuits.

Beyond that, there’s a bit of “mob wife”—a touch of Sharon Stone in Casino. It’s that feeling and those fabrics in one look, though our silhouette is different. And there’s a vintage Galliano jacket and pencil skirt that’s very Tippi Hedren in The Birds. It’s beautiful.

How does Emily’s style change between Rome and Venice?
The Venice outfits are even more romantic. Emily arrives in Venice in a polka-dot Stine Goya crop top and tulip skirt.

With the monochrome, silhouette, and playfulness, it felt a bit like Carrie arriving in Paris?
It was probably in the corner of my mind—maybe an unconscious tribute. The cut is very simple, but the proportions are a bit more extravagant. I love Sex and the City, so maybe you’re right. It’s in the same tradition of wanting to look spectacular when you arrive in a new place.

Moving on to Sylvie, she wears a naked dress this season that I thought was sensational. What’s she like in Rome versus Paris?
That dress is from The Attico. Sylvie is much more sensual in Rome. She shows her sexuality in a very different way compared to Paris—it’s almost a bit more aggressive. In Paris, you’ll see her in beautiful Alberta Ferretti archive pieces; she’s sexy and powerful but more in control and wears more suits. You see her body more in Rome; the shapes and materials are different. In this season’s last episode in Venice, she wears another Attico look—a metal dress. It’s simple but powerful as hell.

And Mindy always brings it, of course. What are your favorite looks on her this season?
There’s a great beaded blue minidress, a yellow dress, and a lime green look from a young Spanish designer, Celia B. That’s one of my favorites because it’s so unexpected.

You also dressed Minnie Driver this season, who plays Sylvie’s friend Princess Jane, a very eccentric member of the royal family.
It was love at first sight. She arrived on set the night before we started shooting, so I was sweating, thinking, Please, God, give me the right dress for her. But we connected straight away and built her character. She wore Stéphane Rolland, Selezza, La DoubleJ, Dolce & Gabbana, and some vintage pieces. We leaned into that clichéd, dramatic Italian style and had a lot of fun.

And finally, the double act that is Luc and Julien. How have their respective styles evolved?
We’re having even more fun with Julien now, and even Luc—he’s become a dandy. He also has his fashion moment this season at a party at Maxim’s, and it’s Belle Époque. He looked great. It was a hit on the set. Some of the girls were jealous, saying, “Hey, aren’t we supposed to be the ones in the fancy dresses?””Who are the fashion icons of the show?” It was a standout moment. Bruno Gouery as Luc and Samuel Arnold as Julien in Emily in Paris.
Photo: Courtesy of Netflix
Season 5 of Emily in Paris will begin streaming on Netflix starting December 18.

Frequently Asked Questions
FAQs Marylin Fitoussi on Emily in Paris Season 5 Fashion

Beginner General Questions

Q Who is Marylin Fitoussi
A She is the costume designer for the Netflix series Emily in Paris responsible for creating and curating all the characters iconic looks

Q What does a fashion reference mean in this context
A Its when a characters outfit is intentionally designed to echo or pay homage to a specific historical fashion era a famous designers style or a cultural fashion moment

Q Where can I see Marylin Fitoussis breakdown of the looks
A You can find her detailed analyses in various fashion publications on Netflixs social media channels or in dedicated behindthescenes featurettes about the shows costume design

Q Why is the fashion such a big deal in Emily in Paris
A The show is set in the heart of the fashion world The costumes are a primary storytelling tool visually defining each characters personality career emotional state and cultural clashes

Character Style Questions

Q What was the main fashion theme for Emily in season 5
A According to Fitoussi Emilys style evolved to be more sophisticated and Parisian blending her American boldness with classic French elegance She moved slightly away from very loud patterns into more tailored pieces and chic color stories

Q Did any character have a major style transformation this season
A Yes Camilles style shifted significantly to reflect her new role as a gallery owner and her more independent confident persona Her looks became more minimalist architectural and artistically refined compared to her earlier bohemian style

Q What key references were used for Sylvies wardrobe
A Sylvies style continues to be the epitome of classic powerful French chic Fitoussi often references iconic French actresses and designers from the 1960s and 70s like Jane Birkin and Saint Laurent emphasizing impeccable tailoring luxurious fabrics and timeless silhouettes

Advanced Detailed Questions

Q Can you give a specific example of a direct designer homage from season 5
A Fitoussi has pointed out looks that directly reference contemporary designers like