Between behind-the-scenes details, creative chemistry, and a genuine love for fashion, the actor looks back on an Emily in Paris season shaped by emotion and intersecting cultural influences. The new season arrives on Netflix on December 18.

PHOTOGRAPHY Jean-Charles Couty

For the new season of Emily in Paris, Arnaud Binard welcomes a whirlwind of emotions and surprises he can only hint at, staying true to the sense of mystery Darren Star cultivates. Throughout the conversation, he speaks with care about how his character&rsquo;s evolution brings him to navigate French, American, and Italian cultural sensibilities, which form the beating heart of the series.
Attentive to the importance of costumes, he describes the symbiosis formed with Marylin Fitoussi and her team, an artistic dialogue patiently built over the seasons. His personal relationship with fashion &mdash; rooted in pleasure, encounters, and deep gratitude for craftsmanship &mdash; shows through as well, just like his own daily style: minimalist, functional, and far from the on-screen glamour.
Between dream collaborations, varied inspirations, and the desire to one day imagine his own capsule, the actor reveals a relationship with fashion that is intimate, instinctive, and firmly grounded in real life.

Can you tell us a bit more about what awaits your character, Laurent Grateau, in the next season of Emily in Paris, and how you approached this evolution?
Unfortunately, I can&rsquo;t reveal much, at the risk of spoiling the pleasure of discovering these new twists, which Darren is so good at. All I can say is that this season is very, very rich in emotions and full of the unexpected.
How does the series influence the way you personally perceive fashion, and conversely, how does your own sensibility inform your character?
It&rsquo;s mainly the development of the narrative arcs &mdash; especially, of course, the one concerning my character &mdash; that leads me to put into perspective the cultural differences that make a project like Emily in Paris so interesting. The way the characters perceive the fashion world, but also their professional and romantic relationships, blends American influences and sensibilities with those of our French culture, which Darren Star is very fond of&hellip; as well as those of our Italian neighbors.

Costumes play a major role in Emily in Paris. How do these wardrobe choices contribute to your interpretation and the construction of your character?
I have a very close relationship with Marylin Fitoussi, the show&rsquo;s costume designer, as well as with her wonderful team. After three seasons together, we&rsquo;ve created a kind of symbiosis around the character, which expressed itself very naturally for this new season.
What is your personal relationship with fashion? Is it a world you explore for pleasure, for professional reasons, or a mix of both?
It&rsquo;s truly a pleasure and a privilege to be able to explore this universe where human craftsmanship and creativity play such a central role. I always feel extremely fortunate and grateful to interact with people involved in these different fashion houses, whether big or small.

Are there any houses or designers you particularly appreciate &mdash; for their style, their history, or their philosophy? Why those in particular?
I&rsquo;m lucky to have a special relationship with the teams at Moncler. We collaborated last year for the FW24/25 campaign. Their passion for creators from all backgrounds offers a very rich cultural diversity in their influences. I really like the work of Pierre Mah&eacute;o for Officine G&eacute;n&eacute;rale, of Christophe Lemaire and Sarah-Linh Tran at Lemaire, and the creations of Yōji Yamamoto.
Is your everyday style very different from what we see you wearing on screen?
Yes, quite. My daily style is rather minimalist and functional.

What key elements define how you dress off-camera?
In my everyday life, I appreciate the simplicity and sobriety of clothes that follow the movement. I&rsquo;m active. I move around. I do a lot of activities in nature, and manual work. I need my clothes not to restrict me but instead to encourage action or encounters, while adapting to very different contexts &mdash; far from urban areas or in the heart of cities.
Since the series is so tied to the world of fashion, have you been approached or inspired for collaborations? Do you imagine yourself working more closely with a house or designer one day?
I would love to! I&rsquo;ve had a few pieces in mind for a long time, a capsule that would bring together influences from opposite worlds: between ocean waves, mountain-side forests, and wandering through the city. There is undoubtedly a line to be drawn from specific surfaces, materials, and curves to explore&hellip;&rdquo;

Arnaud Binard Is Still Himself on 'Emily in Paris,' Just a Little More Intentional

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