Costume designer Marylin Fitoussi sets the sartorial stage for Emily's supposed evolution into a real Parisian.
"All the display gowns [in the Pierre Cadault retrospective] are by Stéphane Rolland," says Fitoussi, "167 haute couture dresses."
Fitoussi recalls "splashing" Rolland's gowns with paint to masquerade them as Cadault designs for his disruptive Paris Fashion Week runway — the one that Emily masterminded. The ghost-designed pieces are described as as "'' and 'tacky,'" in the script, but according to the costume designer, "[Rolland] is a very, very adorable man and he was very satisfied with the project. He has no problem at all with that.
Sylvie, of course, pulls a severely sculptural black gown, with a molded spherical collar, out of the Cadault archives. Needing a last-minute option, Madeline savvily rents the same one from Of course, Sylvie wears hers in the most understated French way, while Madeline goes Midwestern American Maximalist with loads of chunky gold jewelry.
Sylvie's gown is actually a past-collection Rolland, which Fitoussi replicated as a maternity look for an almost-due Madeline. "I chose this design because I was sure that the dress would look wonderful and equally beautiful on those two beautiful woman," she says.
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