French Silk – Emily in Paris: Season 4 – Boutique en ligne - Maison Malfroy

AAs filming for Season 4 of the hit Netflix series Emily in Paris is set to resume in August 2023, we interviewed one of the show's costume designers to learn more about the behind-the-scenes process—especially when it comes to the costumes. Here's what we discovered.

Hello Herehau, can you introduce yourself?

Hello ! I am Herehau Shown Ragonneau, costume designer and stylist from French Polynesia—Tahiti, to be precise. I’ve been working in this exciting field for over 7 years. I specialize in the design, development, and creation of costumes for various film and television productions.

I’ve worn many hats, ranging from costume supervisor to assistant costume designer, from costume illustrator to stylist—always approaching each project with passion and dedication.

Have you always dreamed of being a costume designer for TV and film?

Initially, I arrived in Paris in 2012 to pursue a three-year training program in fashion design and textile design, with the ambition of launching my own brand. Through various encounters and opportunities, I interned on my first historical project – 'Gauguin', with the costume designer Céline Guignard-Rajot, who passed on to me her love for costume design. Today, I’m grateful to every person who gave me a chance, including Marilyn Fitoussi!

How do you work with Marilyn Fitoussi on character styling? Are the actors involved?

Marilyn Fitoussi has been the costume designer for Emily in Paris since the very beginning. She spent three seasons developing characters who stand out through their clothing style and use of color. Because Emily in Paris remains, above all, a work of costume design.

This involves understanding a character and creating a unique visual universe for them, while also incorporating your own artistic vision. Of course, it's common for us to develop a character in collaboration with the actor or actress involved.

After three years of portraying a character, it’s important to have a dialogue about it and to listen carefully to everyone’s wishes.

On my side, I assisted Marilyn during season 3.

My role involved selecting pieces from lookbooks, making specific requests to designers, researching new creators, and coordinating the availability, arrivals, and returns of outfits.

It’s a job that requires anticipation and also allows for involvement in the character’s styling when needed.

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Are you aware that you're giving exposure to emerging or niche brands through this show? Do you feel a certain responsibility toward them?

We are more than aware of this new generation of “Made in France” — and even “Made in Paris” — designers. Marilyn Fitoussi has always had a strong desire to support these emerging talents.

It’s important not only to stay up to date and showcase designers who understand today’s fashion,

It’s important not only to stay up to date and showcase designers who understand today’s fashion, but also because most of them are committed to ethical and sustainable practices, unlike fast fashion.

The idea of giving visibility to designers we admire through platforms like Emily in Paris,

What did you like about Malfroy’s designs?

As for Malfroy’s designs, what I particularly appreciate is the richness of their patterns, the boldness of their colors, and their unique craftsmanship, which rivals that of major luxury houses.

Having had the chance to see them up close, I’m convinced of the uniqueness of their artistry, passed down from generation to generation, resulting in a product that remains affordable. So yes, I admit it — I couldn’t resist and got one of their scarves myself!

If Emily were a scarf, which one would she be?