The exhibition will bring together more than 100 costumes by Marylin Fitoussi, examining the series’ fashion, character development and interpretation of French style
SCAD Fash will present “Emily in Paris: Fashion Without Rules, Costumes by Marylin Fitoussi,” a retrospective dedicated to the Netflix series’ costume design, opening November 11 and running through March 14. The exhibition will feature more than 100 ensembles spanning the show’s major characters and seasons, highlighting the work of French costume designer Marylin Fitoussi while exploring how clothing shapes character and challenges conventional ideas of French style.
The exhibition will arrive as the series approaches its sixth and final season, which premieres December 24. Organized by SCAD Fash curator and creative director Rafael Gomes in close collaboration with Fitoussi, the presentation will combine a loose chronology of the show with immersive installations. These will include vignettes devoted to the Marie Antoinette-inspired fashion show at Versailles that concluded the second season and Emily Cooper’s recurring interpretations of Audrey Hepburn.
The costumes will trace the distinct visual identities of the series’ central characters, from Cooper’s exuberant, often deliberately unconventional combinations to the restrained tailoring and eveningwear of her employer, Sylvie Grateau. The exhibition will also feature looks worn by Cooper’s friends and romantic interests, including Mindy’s sequined and brightly colored stage wardrobe and Camille’s more understated, edgy style. Among the pieces on view will be a black satin skirt set and mirrored leather bra top worn by Camille in the fourth season, designed by SCAD alumna Kate Barton.
Gomes said the exhibition reflects the museum’s interest in bringing fashion and film into closer conversation, while offering students an opportunity to examine the relationship between costume, character and visual storytelling. Its interdisciplinary focus connects with SCAD’s programs in fashion design, production design, dramatic writing, acting, film and television. For Fitoussi, the retrospective also brings greater attention to a field in which contemporary costume design can be overlooked despite the detailed creative decisions behind each look.
Fitoussi’s approach to costume draws on a background shaped by her early exposure to clothing from different decades, formal textile design studies at the École du Louvre and experience across French and international film productions. She consulted with Patricia Field during the first two seasons of “Emily in Paris” before taking over the series’ costume design. The exhibition will also include an Antonio Marras dress worn by Cooper in the upcoming season, offering visitors a preview of a look before the new episodes premiere.
SCAD Fash will mark the exhibition’s opening with a members-only preview on November 10, featuring an exclusive screening of the sixth-season trailer and a conversation with Fitoussi, series creator and executive producer Darren Star, and members of the cast. The presentation extends SCAD Fash’s use of fashion exhibitions as a meeting point for design education, popular culture and the screen, while placing the creative work behind a globally recognized series in a museum setting.
