Fashion: the lucrative business of “Emily in Paris”

Posted on December 15, 2022 at 3:12 PM

A postcard Paris all accordion, baguette and immaculate alleys, a very light scenery and a wardrobe of dubious taste, source of heated debates. This is the recipe for the success of “Emily in Paris”, by the American Darren Star – already ahead of “Sex and The City” -, shown on Netflix since 2020. The adventures of a native of Chicago (Lily Collins) boosted the relentless marketing world, a stylistic UFO among jeans clones, navy blazers and white t-shirts. And what does it matter “All of France says she is old-fashioned and ugly”removes Marylin Fitoussi, costume designer for the series, who assumes “make your eyes bleed” with its eclectic looks where fast-fashion, mid-range and luxury brands mix.

Two seasons later, the show’s wardrobe has become a character in its own right. Its success is so great that it even influences searches for clothes on the internet. The first season of “Emily in Paris” significantly increased orders for Chanel jackets (+30% international clicks according to search engine Stylight). In 2021, shopping platform Lyst saw a 342% increase in searches for a Kangol bucket hat and 194% for a Courrèges vinyl jacket. Crazy numbers that weigh: at the beginning of the year, Launchmetrics, an expert in e-reputation and influencer marketing in the fashion and luxury industries, revealed that the “media impact value” of the 2nd season of “Emily in Paris” had reached $96 million three weeks after its release.

Treat yourself to a “cool” nail polish

The French brand Carel benefited greatly from this “Emily-mania”. Worn by the heroine in the first episode of Season 2, the “Scoubidou” bag was an immediate hit with viewers. “We sell three times as much on average,” confirms Frédérique Picard, President of Carel. “Where we used to sell ten a week, we went to thirty, just in e-commerce. 🇧🇷 Like many other accessories in the series, this recycled plastic shopping bag now bears the “seen in Emily in Paris” stamp, a real added value. “It’s very new in my work, this correlation between fashion, brands and business”Marylin Fitoussi is surprised.

The transmission of the 3rd season of Emily in Paris starts on the 21st of December: it features more than 250 brands and stylists.Carole Bethuel/Netflix

Based on its success (over 107 million hours of viewing were logged between December 22nd and 26th, 2021 after Season 2 aired), “Emily in Paris” has become the #1 destination for advertisers. And it works as a soft power tool to hit a traditionally hard-to-hit target. That of young people aged 25 to 35, who exchanged television for the benefit of streaming platforms. Result: everyone wants to be a part of it. “It’s a real fashion showcase, and the brands want to associate their values ​​with those of the series. “, explains Jean-Dominique Bourgeois, president of product placement agency Place To Be Media.

Clearly, to give it a “cool” veneer and boost its reputation in all countries where “Emily in Paris” is broadcast. “I am regularly contacted by brands that have a small drop in visibility or are looking to reach a younger and different clientele”confirms Marylin Fitoussi, who specifies that she works in complete freedom. “I’m not paid by brands and I don’t want to be”season the costume designer. “I don’t do product placement. »

Communicate in a hundred countries

The product placement is there, however, each of the ten episodes of the second season also deserves the mention, discreet but obligatory. So much so that sometimes the product is part of the plot. Officially, there is no commercial agreement between the brands and Netflix, but a collaboration “organic and creative”, insists Samantha Garrett, Rimowa’s head of global communications. The famous brand of aluminum luggage, owned by the LVMH group, has a key role in two episodes of the second season – which earned it a significant increase in online and Instagram traffic in the three weeks following its broadcast. If it doesn’t spill on the underside of its presence in the Netflix series, the jeweler Chopard, for its part, called on the placement agency Marques & Films to integrate its “Happy Hearts” jewelry collection into the set. The result ? A launch with great fanfare on the Seine, organized by the Savoir agency, where Emily Cooper works, and of which Chopard is a fictional client.

The French label Carel benefited greatly from this Emily-mania. Worn by the heroine in the first episode of season 2, the Scoubidou bag was an immediate hit with viewers.

Enough to convince the few brands that had not yet bet, preferring to guarantee the good success of the series before entering it. The official trailer for the 3rd season, revealed on November 30th, thus features, for just a few seconds, three hot air balloons stamped with the logo of the ready-to-wear brand AMI – which it did not want to communicate on this subject. In France, where product placement has only been authorized since 2010 by the CSA, and only on television and in video clips, its annual market is estimated at between 10 and 20 million euros. Entry ticket to a series varies “depending on the program, its potency and its recurrence”explains Jean-Dominique Bourgeois, who worked closely with Darren Star and the American production to place advertisers in the third season. Confidentiality is essential when we talk about the rates in force, but “in series like ‘Emily in Paris’, which has an international dimension and generates tens or even hundreds of millions of views, we get close to hundreds of thousands of euros”, says the branch manager.

Is the game worth it? Whether it wants to increase its sales or its notoriety, a brand has every interest in betting on product placement on streaming platforms. “In a single operation, the brand can communicate in fifty, sixty, even a hundred countries and, therefore, add costs”, sums up Jean-Dominique Bourgeois, who confirms that some advertisers are already willing to pay a lot of money to appear on Netflix, Prime Video or Disney +. Even more so when the platform benefits from a program as powerful as “Emily in Paris”, broadcast simultaneously in 190 countries around the world. The latter is so sought after that it could, moreover, if Netflix wanted to, be funded almost entirely by product placement. The phenomenon, far from losing strength, should still grow with the transmission of the 3rd season, on December 21st, which will feature more than 250 brands and stylists.

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