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The world is halfway through the first installment emily in paris‘s fourth season, longtime fans of the show are ready to see what is arguably the biggest problem yet resolved on September 12. Reflecting this expectation, is a new poster shared by the series’ creators, which shows a beautiful Emily sitting on stone steps in front of a beautiful Paris. More than Emily and the speculation about how this messy story will move forward, her rose-colored gown has caught everyone’s attention, and for a good reason.
Emily goes vintage
While Emily’s evolution is an obsession-filled rabbit hole of its own over the series’ 4 seasons, her personal aesthetic, embodied by Lily Collins, is often treated with knee-jerk reactions. The fun, vibrant and almost-ditsy vibe – including the fashion, was what launched the series’ entire appeal back in 2020, the show’s aesthetic influence has moved towards more distant, kitschy and, dare we say, weirder pastures with each passing season. In this regard, Season 4 has been the brightest, almost distractingly so.
The show’s latest poster however points to another shift in Emily’s costume evolution, however glacial it may seem. The palette is red, the theme is vintage and the vibe is princess. Don’t be fooled, this look isn’t everyone’s cup of tea. But it’s much better than the looks shown so far in Season 4.
The spotlight is not on Emily, but on a vintage Roberto Cappucci gown, dating back to 1956. The piece was so iconic for its time that it was featured in a major Cadillac ad. Referred to as the No Way Gone or ‘Nine Skirts’ gown, the ballroom red Cappucci ensemble features 9 consecutive inverted layers, creating a raised front hem. Each of these layers loops around at the back, creating the illusion of a trail descending down. The futuristic high-low hem of the dress was complemented with a 50s fitted bodice and curvy midi skirt. Emily touched upon its camp-core spirit by wearing a pair of fitted capri pants instead.
Camp-core galore
Camp is iconic. And not without reason. There’s something incredibly liberating about a no-holds-barred celebration of fashion, whether it’s in terms of silhouette, color, or inspiration. One thing camp can’t be categorized as is ‘everydayness.’ But Emily does it. She tones down the shock factor of camp as much as she can – mostly by sticking to regular silhouettes. But there’s no stopping her when it comes to color and embellishment and while more can be more, in Emily’s case it’s too much. And not once in an episode, but in every other scene. Costume designer Marylin Fitoussi shared how while the main inspiration behind Emily’s burgeoning wardrobe was Parisian chic, they didn’t want Fitoussi’s final lineup to be predictable in any way. She said, “We didn’t want to make her a young American in jeans and sneakers, nor the archetype of the Parisian woman in a trench coat and white t-shirt”.
The brief then was, “Boring is irrelevant”. And given that Emily’s clothes are the only factor that’s holding her ground in terms of the show’s relevance, the styling team probably hit the nail on the head?
the second installment of emily in paris It will be streaming on OTT from September 12.
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