The Eiffel Tower has not always glowed gold at night. For decades it was lit from below by floodlights, a pale shape against the dark. On the last evening of 1985 that changed: the lighting designer Pierre Bideau put a set of sodium lamps inside the frame itself, and the tower started to shine from within in a warm amber that made the iron look like it was made of light. Since the year 2000 it also sparkles, twenty thousand small bulbs flashing for five minutes at the top of every hour after dark.
Codigrate's Paris theme lives in that hour. The sun is gone behind the rooftops, the sky over the Seine has turned a soft rose and then a deep plum, and the warm lights are coming on one window at a time. What follows takes it apart color by color. It is the third city in this series, after the neon night of Miami and the bright tiles of Istanbul, and it is the quietest of the three.
Rose Instead Of Champagne
The theme's own description is unusually specific about what it chose not to do. It trades bright champagne for dusty rose accents over calm plum espresso tones. That is the whole idea in one line: the obvious Paris palette is gold and cream and sparkle, and this one keeps the gold in reserve and lets the rose do the talking.
You can see the choice in the palette before a file is open. The accent that runs through the interface is a powdered blush #D18FA8. The code is carried by a Montmartre rose #D584A3, a cherry macaron #DF7583 and a peach macaron #F3B7A9, the colors of a pastry shop window more than a postcard. The gold is still there, a champagne gold #F1C970 and the warmer café lights #FBBA77, but it is spent on a few tokens, not on the whole room.
The Harmony: A Warm Sweep And One Blue
Put the colors on a wheel and most of them sit in one long arc. The roses and the backgrounds gather between roughly 333 and 352 degrees, the peach macaron sits at 11, the café lights at 30 and the champagne gold at 41. That is a single analogous sweep, from rose through peach to gold, the way the sky over the river fades from pink near the horizon to amber around the streetlamps.
Then there is one cool color, and it is placed with care. The twilight blue #87A1D3 sits at 219 degrees, almost exactly opposite the champagne gold at 41. Gold against blue is about 178 degrees apart, a complementary pair, and it is the pair you see at blue hour on any Paris bridge: lit windows against the last of the sky. Because only one blue is allowed in, it never competes with the roses. It just makes them look warmer by standing next to them.
Backgrounds, Mixed From Plum
A dark theme lives on its near blacks, and Paris's are not black at all. All four sit on the same dusky rose hue, around 335 degrees, and only the lightness moves:
- Input #100D0E, an ink noir, the darkest well, where you type into search fields and dialogs.
- Editor #281D22, the Parisian night the code is written on, a plum so deep it reads as espresso.
- Window #4F303C, a cabaret shadow for the tool windows and panels.
- Surface #6A3C4D, a rosewood for the outer frame the whole window sits in.
The gutter drops a step below the editor to #1C1719, and the current line lifts to a muted plum #4C3943. Selection stays in the family too: selected text in the editor turns a deep wine #722832, and a selected row in the project tree turns a mauve salon #5D3F49.
Unlike Miami and Istanbul, Paris does not break the room for the open tab. The active editor tab sits on a wine cellar #532D33 with a Bordeaux underline #994753, the same family one shade redder. The one cool light in the interface is the progress bar, which runs in a Seine blue #5E7BB3, the river glimpsed between buildings.
One Foreground, Several Voices
The text is not pure white. Code is written in an ivory lace #E6D7DD, a white with a little rose in it, at about 12:1 against the editor. That is plenty to read all evening, and softer than pure white on a dark screen. The interface text around it drops to a rose smoke #C79FAE at about 7:1, so labels, menus and secondary lines come from the same warm family as the code.
Comments break the pattern on purpose. They are a blue grey #89909F at around 5:1, the only cool neutral in the theme. Among so many warm tones that coolness alone is enough to push your notes behind the code, the same trick Miami played with its lavender grey. It is the ladder from the readability post, with temperature doing part of the work that brightness usually does.
The small parts of the editor stay in character as well. The caret is a dusty pink #C38AA4, the line numbers are a muted mauve #9B7E8B, and the number on the current line lifts to a brighter rose #C791AA, so your place in the gutter is marked without a new color.
Syntax: Pastry Window And Streetlamps
Open a file and the evening fills in:
- Keywords, modifiers and booleans in Montmartre rose #D584A3, the most frequent colored words in any file, in the color the whole theme is built on.
- Strings, numbers and attribute values in cherry macaron #DF7583, a shade redder and easy to find.
- Methods, fields and properties in peach macaron #F3B7A9, the lightest of the pinks, for the things your code calls and reads.
- Parameters in champagne gold #F1C970 and global variables in café lights #FBBA77, the two golds the theme held back, spent where a value enters or leaves a function.
- Variables in twilight blue #87A1D3, the one cool color in the code, the sky over the river.
- Attributes in a limestone cream #DDBF98, the stone of the Haussmann facades, and static members in a pale gilt #DCC79D.
- Annotations in a pale linden green #CED390, and tags and CSS selectors in a soft stone #D6CFC1.
Class names, function names, types, constants and operators stay a plain light grey #E0E0E0 at about 12:1. Leaving the names uncolored is what keeps a Paris file calm. The eye takes in the shape of a line first, keyword, name, value, and the roses and golds only land where they have something to say.
Explore Our Themes
Reading It Back
Taken apart, Paris is a theme of restraint. The darks share one plum hue so the roses have somewhere to sit. The palette runs in a single warm sweep from rose to gold, and the gold, the color everyone expects from Paris, is kept for parameters and globals instead of being poured over everything. One twilight blue answers it from the other side of the wheel, the comments step back by temperature, and even the open tab stays in the family of wine.
It suits a dim room and a long evening, which is also when the real city looks like this, the tower lit from inside and the river going dark below it. Paris installs free on JetBrains, VS Code, Cursor, Sublime Text, Chrome, Slack, Ghostty, iTerm2, macOS Terminal and Rhino, all from its theme page.
Frequently Asked Questions
What is the Paris theme?
Paris is one of Codigrate's dark city themes, built around Paris in the last light of the evening, when the boulevards go rose and the café windows come on. The editor is a deep plum espresso instead of a neutral charcoal, and the colors on it come from the city at dusk: a Montmartre rose for keywords, a cherry macaron for strings, a peach macaron for methods and fields, champagne gold and café lights for the warm accents, and a twilight blue off the Seine for variables. It reads like an evening walk along the river rather than a plain dark mode.
Why is the Paris background plum instead of black or grey?
Because a flat charcoal would make the roses look pasted on. Paris builds every dark from one dusky rose hue, around 335 degrees: the input wells at #100D0E, the editor at #281D22, the tool windows at #4F303C and the outer frame at #6A3C4D. The pinks on top share that undertone, so the syntax sits in the room instead of floating over it, and the panels separate by a clear step in lightness rather than by drawn lines.
How are the syntax colors chosen in Paris?
They run in one warm sweep with a single cool answer. The warm side moves from rose to gold: Montmartre rose for keywords, cherry macaron for strings and numbers, peach macaron for methods and fields, café lights for global variables and champagne gold for parameters. The cool side is the Seine at blue hour: a twilight blue for variables and a blue grey for comments. Names such as classes and functions stay a plain light grey, so the structure of a line is clear before the color is.
How is Paris different from the Miami theme?
Both are dark city themes built on a rose tinted near black, but they are opposite moods. Miami is loud: a hot neon pink accent, an electric aqua and a bright golden sand, with a teal tab that breaks the room on purpose. Paris is quiet: its pinks are dusty and powdery, its gold is champagne rather than neon, its active tab stays in the same wine family, and only one cool blue is allowed in. Miami is a night out on Ocean Drive; Paris is the walk home along the river.
Premium Themes With A Similar Palette
- Vienna, a dark city theme
