Latest / The Art of Costume Podcast / Emily in Paris with Costume Designer, Marylin Fitoussi

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Emily in Paris with Costume Designer, Marylin Fitoussi · The Art of Costume Podcast

0:06
Hello and welcome to the Art of Costume podcast.
0:09
I am your host, Spencer Williams, and thank you so much
0:12
for joining me for another bonus episode.
0:17
Hey, costume nerds. Or shall I say.
0:19
Bonjour, because today's episode is all about Emily in Paris and
0:26
I am so excited to be here today with costume designer Marilyn
0:31
Fotusi. You will know her from her work
0:33
on Valyrian and the City of 1000, Planets from 2017, Vantage
0:38
Point from 2008, and a whole long list of projects and
0:42
various roles. It seems like Marilyn has done
0:45
it all. Marilyn has been nominated for
0:47
four CDG Awards. Winning one of.
0:50
Them for Emily in Paris and nominated for two primetime
0:53
Emmys, including just. This year for season. 4 of Emily
0:58
in Paris. I was absolutely charmed by
1:02
Marilyn Fatusi. I just absolutely loved her.
1:06
One of the coolest people I've ever met.
1:07
You're all going to absolutely love her.
1:10
We dive into everything from season.
1:12
Four from the. Evolution of Emily being
1:15
comfortable in Paris now, now that's been a few seasons.
1:19
Of course, the masquerade ball, which was just incredible.
1:23
And also Emily ends up in Rome. So it's now Emily and Rome when
1:29
we talked about all of the mirrored aspects that really
1:32
look like Roman holiday as well and the connection to Audrey
1:35
Hepburn. So I'm so excited for you all to
1:37
hear this episode. Like I said, absolutely adore
1:41
Marilyn Fatusi. I wish we could talk for.
1:43
Hours and hours as she was, actually.
1:45
On set for something. So she took some time to talk to
1:49
me. This was right before we found
1:51
out about her Emmy nomination, so you want to not hear mention
1:54
of that just yet. But all I would say is I'm just
1:58
super happy. For her and.
2:00
I hope you all enjoy this episode.
2:07
Hi, I'm Dan who does all the magic behind the scenes.
2:10
I wanted to say thank you and if you want to support the show
2:13
even farther, go to tpublic.com/user slash The Art
2:19
of Costume, where you can buy a couple variations of our logo on
2:23
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2:32
leave us a five star review on Apple Podcast.
2:35
Now back to the show. I'm so happy to be joined today
2:43
by Emily and Paris costume designer Marilyn Fatusi.
2:46
Thank you so much for joining me.
2:47
I've been looking forward to meeting you.
2:49
Nice to see you, nice to meet you, Spencer.
2:52
Nice to, I don't know, to everybody who will, who will
2:55
watch us. No makeup, no close up, really
3:00
full serendocation. But I'm really happy to to have
3:02
a chat with you. You're in a white space, I'm in
3:05
the dark for some reason. So we're just making it work.
3:08
So I don't know. Make a good impression, I'm sure
3:10
people will think it's a fashion statement between the two of us.
3:15
Guess, of course. Well, I'm so excited to talk
3:18
about Emily and Paris. I have to admit, I just started
3:20
the series like a couple days ago, so it's been fun to really
3:23
catch up on all this incredible work you've been doing.
3:26
But before we get into Season 4, I would like to begin with
3:30
collaboration First, I'd love to hear more about your
3:33
collaboration with creator Darren Starr.
3:35
How's that collaboration evolved over the years working on Emily
3:39
In? Paris I was really lucky to be
3:42
introduced to Darren by Patricia Field, who was the costume
3:47
designer of Sex and the City that this incredible
3:50
relationship together. So Darren was trusting 100%
3:56
Patricia Fields. I did my interview with Patricia
3:59
and she chose me between a couple of all the designer and
4:04
once I was approved validate because Patricia was 100% sure
4:12
that I would be in Darren's mind as she was in Darren's mind
4:16
during the the prep and the shooting of Sex and the City.
4:21
He was. It's someone who can inspire you
4:26
a lot. It it puts on you so much faith.
4:30
It trusts you so much and you say whatever you want to do.
4:33
So sometimes or well, every time when he asked me to design A
4:37
runway, say surprise me and it's when it's it's terrific,
4:41
terrifying for you say, oh Jesus, how can I impress men who
4:45
had such a career? So the relationship we have, I
4:50
think now we can understand each other without big sentences with
4:56
one or two words. And now I understand it's
4:58
universe, I understand it's aesthetic.
5:01
I respect that. I love like him romantic comedy.
5:04
I love color. I love women well dressed all
5:07
the time. We love we love women in body
5:09
con dress. Yes, it's probably not not very,
5:15
very French. It wasn't for us very French at
5:20
the beginning. This kind of body condress.
5:22
We say it's very American and now we say no, no, it's French
5:25
chic. We have this funny with funny
5:29
kind of joke and it's he succeeds to make this show
5:34
visually incredible because he has a vision and when he trusts
5:38
you and you follow his vision also, it makes the show that
5:42
he's entertaining. It's like a bubble of champagne.
5:45
It's, it's joyful to see, to watch, to, to walk with.
5:50
It's honestly, it's a kind of dream job.
5:52
So I'm, I'm a little bit ashamed to say that I'm walking because
5:55
no, I'm just having fun every day.
5:58
So. It feels like, I mean, between
6:02
you and all the collaborators, it feels like it's a trip into
6:04
your creative minds. It is very colorful and joyful,
6:07
but still cover some very real topics too.
6:10
At the same time, it's, it's inspiring.
6:12
It's nice to have something to just watch and just feel
6:15
inspired by the color. And the patterns and feel joy.
6:18
I'm really proud of that. I'm really proud when people say
6:20
hi. I watch him in Paris.
6:22
All this color make me make me feel happy or the the the show
6:28
gives me, push me or encourage me to use color.
6:34
I was all dressed in black and suddenly I discovered that color
6:38
could be for me also. And it was such a manifesto of
6:42
of freedom that mean I'm a little bit against the fashion
6:46
magazine and the diktat of fashion magazine who say to you,
6:51
you, you can't wear more than three colors, you can't wear
6:55
more than 3 accessories or you need to obey to the eight points
7:01
low. You know, it's something crazy
7:04
for me. Costume clothes need to be
7:07
something It's a good. It needs to help you to feel
7:11
good, to feel beautiful, to feel confident in power.
7:15
It's a message. It's the message that you are
7:17
sending to people. So you are your own costume
7:20
designer. You are your own designer.
7:22
Don't go with the the flu. Don't go with the the trend.
7:26
You know your body perfectly well.
7:28
You know what it's flattering on you or not.
7:31
So even if the the the the the the fashion of the trend, it's,
7:35
you know, to have cropped up or to have a low waisted skirt, if
7:40
it doesn't fit, you forget that. So Emmeline Paris, it's the
7:45
typical show that said to you look, you can have glitter.
7:49
I 10:00 AM in the morning you can put as much print as you
7:54
loved and nobody will come. And the Fashion Police it's not
7:58
coming to to get you. And if they put you in jail,
8:01
maybe you will have a lot of fun.
8:02
So go go ahead and do it, but just be free and experience
8:08
experience like it's to shop to wear boring clothes.
8:12
And I don't stop to say that to everybody.
8:14
It's you need to express yourself.
8:16
It's it's, it's a not also for, you know, what custom fashion
8:21
designer I'm doing, It's a not so it's a way to express it's
8:26
not so stupid. You know, people say, oh, she's
8:30
in fashion like, oh, poor girl. She she didn't maybe no and no.
8:35
It's something for help people to be beautiful and to be
8:40
confident. So I think we are like medics
8:43
also like Frank, we can, we can help people to find their inner
8:49
self and and be and be more happy with themselves too.
8:53
Yeah, I I think we could rap with the whole interview right
8:57
there. That was amazing.
8:58
I we got spend more time together.
9:00
As I'm saying, in this all black dark room, we got spend more
9:04
time together. Merrill Lynch, let's let's dive
9:08
into now Season 4. Lily Collins mentioned in the
9:11
press leading up to season 4 that she met with you before
9:14
season 4, talking about new color palettes, new designers,
9:17
new imagery, new opportunities for custom made pieces.
9:21
What is your collaboration like between you and Lily and
9:23
preparing for these seasons of this incredible show?
9:28
Yeah, it's it's she's someone who has really a nice
9:32
profession. She's someone who can be so
9:34
versatile, like a Camilio. I'm I'm seeing a lot of
9:40
editorial she's doing. She's fearless regarding
9:43
fashion, really. She was, since day one, season
9:48
1, really a collaborator, you know, like she was so
9:55
professional, so willing to get into something different, to
10:00
collaborate to your vision, to be 100% with you.
10:04
She knew in the beginning that what we were doing, you know,
10:08
that the, the silhouette we were designing for a character was a
10:12
little bit unapologetic, a little bit eclectic, maybe
10:16
sometimes a little bit too much. But she, she was so bold.
10:21
If I can say that to say, OK, I prefer to be bold and
10:27
interesting to look at rather than follow a trend and be, you
10:34
know, out of fashion next season.
10:36
This show needs to be also timeless.
10:39
In 10 years, I I hope young kids will say, oh, emit in Paris.
10:45
It's it's cool, man. I I love to wear that.
10:47
So Lily understood in the beginning that we could go far.
10:53
And sometimes I said, do you want me to dress you more as a
10:57
French one more, you know, our national French color, black,
11:01
white. And when it's a crazy day, you
11:03
can wear beige or Navy food. And she said, Marilyn, we can
11:08
please everybody. So let's get white.
11:12
And with with her in my hands, you know, we were working ends
11:17
to ends and we could go and make this show a little bit iconic
11:20
sometimes. I remember just one time when I
11:23
did in season 1, that pink look, she said it's really pink.
11:31
I said yes. She said to me, Are you sure?
11:33
I was not sure at all. And I was not sure.
11:38
Shoes, socks, skirt, coat, everything I said for sure.
11:43
And she had this genuine and this strong thing that she, she
11:49
was trusting me. And, and the, the, the, the look
11:52
became iconic. And after the Valentino did an
11:55
entire collection in, in shocking thing was really funny
11:59
for us to watch. So that's why she needed me
12:02
100%. And and it's a it's a it's a
12:05
very nice relationship and every new haircut she has, like the
12:11
the the the bank, like the short hair have for me, the trigger of
12:16
a new inspiration for this season.
12:18
The the way that she cut her hair.
12:20
I said, please, Lily, keep with texting each other.
12:24
I said, please, Lily, keep your short hair.
12:26
I promise you we can go even further.
12:30
So she did and and Darren was 100% also agree.
12:35
And when she cut her bangs for me, it was another way to design
12:39
for her. Tools that you use shape are
12:42
really different, you know, and for short hair.
12:44
And I need to adjust also and to measure how far away I can go
12:50
because it's another way to to expose your neck, your shoulder,
12:54
the way you are walking. It's a different message, you
12:57
know, to go with scarly Navy, genuine hair with short, sleek
13:03
oh. Yeah.
13:06
So it's it's it's, it's done because she gave me a range of
13:10
of possibilities with very joyful and and and enthusiastic.
13:17
Right. So with that, I mean, you know,
13:19
Emily's look kind of evolves through the seasons.
13:22
And at this point in the story, in Season 4, Emily's not really
13:25
trying to fit in anymore. You know, she lives in Paris
13:27
now. She's not just here, you know,
13:29
for some work. So you get to see more
13:31
vulnerability with Emily, too, as she also goes through a lot
13:34
of feelings, lots of, you know, situations with all these
13:37
different men. So what does the season's
13:39
evolution say about Emily as the character through so?
13:44
I I think now she's much more mature, much more a woman.
13:49
She knows the French rule, she completely absorb the French
13:55
culture, but she's unapologetic and she's and I'm really 100%
14:01
happy with that. She's not going to transform
14:06
herself in a in a boring French typical girl for using the
14:12
Parisian rule. She make the Parisian rule own,
14:16
but with always the Cooper twist.
14:20
And when we put the Cooper twist in a French look, a friendship,
14:25
I'm happy because I know the French will have their eyes
14:29
bleeding. I know they will say this is not
14:33
of the French address and it's exactly what we and I want to
14:38
achieve at the end. It's to give also to the French
14:42
people and some understand and some other, not another way of
14:46
thinking of friendship mixing with a different point of view.
14:53
When I was living in Mexico, I was using a Mexican, Mexican
14:58
traditional piece of clothing, but with my Parisian vision.
15:02
And I think this mixture, it's something interesting.
15:06
It's some you see your culture through the eyes of someone else
15:10
and you rediscover why you love it so much, why the friendship
15:17
is named this way, the famous Genesequa, you understand better
15:22
what it means and the impact that the French Sheikh can have
15:28
on other culture. But we need to be humble
15:31
regarding that and let us be a little bit twisted with the the
15:39
the eyes and the aesthetic of someone who come from a
15:44
different country. And I think it's this
15:47
opposition, it's this combination for make and for let
15:51
us evolve also as a as a culture.
15:54
So I'm happy to be all the time unapologetic with the with
15:58
every. Yes, and we all appreciate it
16:02
too. I can promise you that.
16:05
There is one specific costume I want to bring up before we
16:08
continue the third episode of Season 4 in which we see the
16:12
Heartbreak Ball and Masquerade. I got to visit the Netflix
16:16
studios the other day and I got to see Emily's black and white
16:19
striped look in person and I was blown away.
16:22
I just was wondering how you all landed on this look.
16:24
And also, I mean, tell me about your team also, because this is
16:27
a massive episode. It's not just one costume.
16:29
There's a room, a masquerade ballroom full of people.
16:33
So how did this come together? Oh, since season 1, I wanted to
16:37
do a masquerade ball because masquerade ball is a French
16:41
tradition at the beginning since the 18th century.
16:44
So we had a lot of very historic and very known and iconic
16:52
masquerade ball in our French culture.
16:54
So since season 1, I, I was talking to Darren and the
16:57
writer, Please, please, please, I want to have a masquerade
16:59
ball, a lot of cosmic etcetera, etcetera.
17:02
And in the United States you have the black and white
17:05
masquerade ball with Truman Capote.
17:10
So I think it can be a good mixture, you know, a tribute to
17:13
both of our country masquerade ball and black and white for the
17:17
tribute to Truman Capote. So they finally agree in Season
17:22
4. And Lily said, oh, I have a
17:26
wish. And when she has a wish, I said
17:30
yes. And she said, do you mind if we
17:34
call together my friend Harris Fried with the artistic director
17:39
of Nina Ricci? And if you can design something
17:43
for us? And I'm always super happy to
17:46
collaborate with designer. And I said, please do that.
17:50
So I I did a little mood board with for for Iris, I want black
17:56
and white. I love this front etcetera.
17:58
So it come with the with this design.
18:01
And regarding my team, we are a little team.
18:04
We are too sharper. Wow.
18:08
Yes, yes, into shopping. Now we have a third person that
18:13
we we are training to, to have the wow Emeline Paris aesthetic.
18:20
Yeah, yeah. Yeah, be 200.
18:23
And the sugar and luckily for me, I mean some yaks.
18:28
So during the night I'm on website, I click, click, click,
18:30
click, click and I have my Danielle up with my buyer since
18:37
12 years and she's my brain, my second eyes, my third brain, my
18:42
whatever you want. So she knows me perfectly.
18:45
She knows the show, she loves the show.
18:47
So it's but it's a it's a lot of work.
18:50
And now the show, it's growing, it's bigger and bigger.
18:54
So we have three, we are only three people doing all of this.
18:58
But sometimes it's better to have a little army for
19:01
understand perfectly what the aesthetic rather than people who
19:05
doesn't get because it's not because it's colorful or bright
19:10
or too much print that I will like it.
19:13
It's subtle, Spencer. We're doing something very
19:18
certain in a way, because it's complicated to do this much, but
19:23
no much combination. Sometime it's it's too much.
19:26
And I said no, it's it's too much.
19:28
And sometime you know, and, and Lily or other character can can
19:34
wear that can give, give life, give an energy that makes the
19:40
costume look completely normal. And that is the magic.
19:45
It's happened or not. But I promise you, everyone on
19:49
set proved what he's wearing. I never, never, never will send
19:54
someone crying because he's not compatible with what he's
19:59
wearing. Never no one, but treated.
20:05
Of course, and something that does a little different this
20:08
season is it was fall, winter in Paris, which we don't get to see
20:12
too often. So we get to see coats, which
20:14
I'm a big fan of a coat. I live in LA, so it's always,
20:17
you know, 1,000,000 degrees. So I don't get to wear coats.
20:19
So I have coat envy. So what was that like to finally
20:22
like, you know, treat Emily to a winter in Paris?
20:25
And then of course they go to the Alps, which is a little bit
20:28
of fun too. Yeah, Yeah, yeah.
20:29
But it was it, it's more difficult to to to design and to
20:34
style for a winter, winter period because as you said, it's
20:39
a coat. So you need to find beautiful
20:43
and interesting coat and it's also a shape you know, we have,
20:47
we are happy to have very pretty beautiful actresses.
20:54
And sometimes the oversize of of a coat make them disappear a
20:58
little bit. It's not my favorite, my
21:02
favorite period of time. It's it's reduce the layering
21:08
and the what you have underneath.
21:11
So the coat are the main cast, the main pieces of the outfit.
21:17
And I prefer layering, but I prefer to have many things to
21:23
discover than a big coat. So and I hate, I hate the cold.
21:27
I really hate the cold. I hate the mountain.
21:29
So it was not my favorite, but they were the mountainous Oh no
21:36
Jesus. That's so.
21:39
Funny, you know, I'm really happy in Rome.
21:41
I was happy near the beach and that's more my my kind of
21:47
holidays idea. Yeah, it's more complicated, but
21:49
it was nice to experience different look, different
21:53
silhouette and and like that it's I, I hate to bore myself.
21:57
So it was another challenge and I always see a little bit.
22:03
And as these seasons go on, you're all still learning to and
22:05
getting to play with different things.
22:07
So I mean, it was bound to happen at some point.
22:09
So I'm, I'm, I was excited to see what does this look?
22:11
Like for Emily, I discovered your beautiful tradition of the
22:16
the Christmas sweater. So we had a lot of fun.
22:20
We did many pictures with very ugly sweater and I think all the
22:24
French people because it's not a cultural very surprised and and
22:29
we we had fun. So I was obliged to buy 20
22:33
Japan. We did.
22:34
We did many picture on for the crew and it it was a very
22:38
entertaining, entertaining episode.
22:41
The one when she arrived with this ugly beer sweater.
22:46
But yeah, it was funny. Is this a tradition you think
22:50
you're going to adopt or you're going to leave that one for the
22:52
show? I hope.
22:53
So it's it's such a humor, you know, sometimes we need to Make
22:57
Love for about us and to don't willing to be all the time to be
23:02
the friendship and very early. It's sometimes it's funny to to
23:06
have this kind of of funny and and entertaining, you know,
23:14
station. I think it.
23:17
Was it was your first time doing it?
23:19
But I've I always thought Emily's Christmas star was
23:21
amazing, so I got stuck on my ugly Christmas sweater game this
23:25
summer because or winter because mine's.
23:28
I I have to ask a French designer, Clara Dagan, who
23:32
designed all the lighting inside.
23:34
She specialized she's a a plastician and a fashion
23:38
designer, specialize in in lighting and leads outfit.
23:43
She do art couture in with high tech cetera.
23:48
So I'm I'm collaborate. I was obliged to collaborate
23:52
with her because I wanted to know to have many option.
23:56
You know, we can we can have the room.
23:58
It can click in many different ways.
24:01
So I became crazy with this sweater.
24:03
And they say, yes, you can do that and that.
24:05
And people say, OK, yeah, it's not only about the sweater, be
24:08
relaxed. And I say, yeah, we can do that
24:11
and that and say, OK. What do they expect, you know?
24:15
With the music, it can change with the music also.
24:18
We did a Merry Christmas and the sweater could become really
24:23
crazy with all the light and people's Marilyn.
24:26
It's not only the point. No, it's fun.
24:32
So the second part of the season takes place in Rome, and I could
24:36
not stop thinking about, you know, Audrey Hepburn, a Roman
24:39
holiday. I did a little digging, too, and
24:41
the Audrey Hepburn seems to be a focal point that's kind of
24:44
you've touched on for Emily throughout The Four Seasons.
24:47
So wondering if you could talk about this trip to Rome and how
24:51
that really changed things for you because we didn't get to see
24:53
you in this environment before. Yeah, yeah, yeah.
24:56
Audrey Edburn tribute. It's it's happened since season
24:59
1. I don't know exactly why it's
25:02
happened this way. I know Lily, it's a very fine
25:04
of, of the the elegance of Audrey Edburn.
25:08
But it was, it's thought to be something that the writer, you
25:14
know, very often integrate in their in their writing the the
25:19
Audrey Edburn tribute. So we have the Roman holidays.
25:23
We have Shahad the, the, the, the movie when she's wearing,
25:27
you know, in Mojave, this outfit who is the exact replica of the
25:32
Shahad outfit wearing by Audrey Ethern.
25:36
And in, in Rome, of course, it's it was from an holiday.
25:40
So I print the the same scarf. She has a little scarf in Roman
25:44
holidays that she's wearing in different way.
25:47
So we print also the same scarf. I didn't know it because the
25:51
movie is in black and white. The scarf was red stripe, black
25:55
stripe, blue stripe. So we decide to print burgundy
25:59
and white stripe, red, blue and white stripes.
26:04
We try to pay your tribute but not an exact replica of the look
26:09
she has on on Roman holiday. So I found a vintage Alaya high
26:13
waisted skirts. It's the black one that she's
26:16
wearing and we we buy in vintage a white shirt, a white 50 short
26:24
sleeve shirt. And we do this mixture tribute
26:27
to Audrey Bum. And for me it was the all the
26:31
dots that we are using in the, in the Roman part, a tribute to
26:35
the black and white Italian movie that I love so much, Anna
26:39
Maniani. I'm really fan of Anna Maniani,
26:43
of Monica Viti, Sofia Laurent, Claudia Cardinali, all these
26:48
beautiful, gorgeous Italian actresses.
26:52
And I investigate Sofia Laurent with also someone that I really
26:57
love and she had in 2-3 Italian movies, 60s and 70s, a black
27:05
dress with white dots. And I think it was also for
27:09
Dolce Gabbana, good inspiration. So I said so many white dots
27:14
should be something very Italian.
27:16
So I wanted to pay tribute to this kind of aesthetic.
27:20
And too many Italian designer. We use I think almost Italian
27:27
designer during the Roman part. So it was it was nice because
27:31
this period was this part was more romantic, more sensual.
27:36
She decide to stay also for love to be less into work.
27:41
So she she has more she's showing more skin.
27:47
She's not so not sophisticated. It's not the real world, but
27:53
she's less matchy matchy, you know, she put sometimes less
27:58
coordinated and more she doesn't take care of so much of, of Sid
28:04
Wet. When she's in Rome, she let her
28:05
breathe a little bit more. She's more romantic, more
28:09
relaxed. So when she come back in Paris,
28:12
we go back to the to the to the rule.
28:15
But I really wanted to have this more sensual part in in in Rome.
28:19
And we are doing the same in this new season.
28:22
But I'm not going more than that.
28:29
But. I don't want but I can't.
28:32
Right, I'll message you after. Well, Marilyn has been such a
28:37
pleasure to meet you. I just really like.
28:39
To say it, I don't want to go like.
28:41
I have one more question for you.
28:43
So I really love meeting you, and I really love this series.
28:45
And I've just been so impressed that this journey we've seen
28:48
Emily go on and just the love that the fans have for this show
28:52
and how big it's gone. So what has this series meant to
28:55
you, Marilyn, looking back on these four years and this huge
28:59
accomplishment involved? Yeah.
29:00
It was a journey and it starts like something none of us expect
29:05
such a such a success and we are so pleased, grateful.
29:12
It changed really our life, you know, from everybody, everybody
29:16
I'm set is grateful. We know that the show are so
29:22
successful in every country in the world.
29:24
So and and to know that people loved it and that it's some kind
29:30
of entertaining show that people it's like a feel good series and
29:36
I'm I'm really proud of that. I'm really proud that you can
29:38
see that and clean your mind and see beautiful clothes, beautiful
29:42
location, beautiful actors. Darren knows how to entertain
29:48
people. He knows how to wrote for all
29:50
this cast, for all this character to make them, you
29:54
know, nice and genuine at the beginning, but more the action
29:58
and the story evolved. You can see that everybody's
30:02
tricky in a in a, in his own way.
30:05
And of course, the, the visibility that he gave to all
30:09
the designer for the young designer for collaborating with
30:12
me, that is my I think my best gift is to know that Kevin
30:21
Germany now was able to design all the Olympics, all the the
30:27
the is a very talented young designer.
30:29
It it doesn't need me to be talented, but worldwide
30:34
everybody could see what was his creation and it was elected to
30:39
be one of the design of the Paris Olympic Games so that this
30:45
worldwide visibility to those young designer, those young
30:49
students who collaborated with me for one and two runways.
30:53
It's really something for it's like a mission for me now to,
30:58
you know, pass a little bit the the the, the, I don't know the
31:02
the button to someone else to make his own experience and to
31:07
to be discovered by many people. And I'm super happy that the
31:11
girl in Ohio, Atlanta in Savannah can also have this
31:16
little piece of of fairies and can dream of and maybe people
31:20
can just free their mind and say that everything it's possible.
31:25
You can, you can dress as you are willing to.
31:28
You can as I do, find the right project and be at the right
31:33
place at the right moment and express because the Emily in
31:36
Paris style. I have that since 20 years.
31:39
But what was my weakness became my my strength, because my style
31:45
was really not a Parisian style. I promise you, Spencer French
31:49
was all the time afraid by my design, saying it's too
31:54
eclectic, it's too colorful, too much printed, too much
31:57
information. So yes, they were making a lot
32:01
of fun of me at the beginning when I was a younger costume
32:04
designer. And it wasn't a weakness for me
32:08
to have this very colorful style.
32:10
And now it became not a trend, but it, it's, it became what,
32:18
what makes this show also a successful because we are
32:21
unapologetic. We are bold and we have a
32:24
different vision. So weakness.
32:27
And now it's it's, it's the, the, the success.
32:30
And I'm I'm happy and grateful for that, but it doesn't change
32:33
my life. I'm I'm happy to participate
32:36
every morning. I'm not becoming a diva or
32:40
someone crazy. I just love my job and I'm super
32:44
happy to have this kind of dream job, you know, to be surrounded
32:47
by beauty all the time. If you see my showroom, Spencer,
32:51
if you can see our fitting room, you have the most beautiful
32:56
shoes that every designer can have imagined.
33:00
You know, bags, shoes, jewels, crazy dress, just you just wake
33:06
up and you are surrounded by beauty.
33:09
Right that. Sound No.
33:12
It sounds amazing, Marilyn. I, I feel like I, I just met you
33:16
today, but I'm just so proud of you and your journey you've been
33:18
on. And hopefully I'll.
33:23
I'm waiting for the invite to the showroom, please.
33:25
If you come to Paris, come, you need to you need to even me
33:30
every morning. I I'm doing custom design since
33:33
30 years now 31 years and I arrive every morning at the
33:38
office. You know, it's I hope the
33:45
camera, the security camera, it's off because the guy would
33:48
say every morning she'd. Costume Designer.
33:55
I don't want to lose that the day I will lose all my
33:59
enthusiasm. Yeah, I need to change, I need
34:02
to retire, but I'm still here. I don't see that happening
34:06
anytime soon. Costume designer Marilyn Fatusi,
34:09
this has been such a joy. Thank you so much for joining
34:11
me. I looking forward to seeing that
34:13
showroom in person in a couple months.
34:16
To me, we'll work it out. OK.
34:18
Thank you so much. Have a beautiful time in LA.
34:22
Thank you, Marilyn.