Lily Collins’s bob on ‘Emily in Paris’ has its own character arc

Whatever you may have to say about the new season of Emily in Paris—you may love it or hate-watch it—you can’t deny Emily’s new bob is immaculate. Whether worn casually parted down the middle and tucked behind the ears, or made wavy, parted down the side and fastened with a barrette—her hair steals the scene in almost every episode.

Mike Désir has been shaping Emily Cooper’s (Lily Collins) hair since season one and has created 64 distinct hairstyles for the character over five seasons. A fashion insider before he ever stepped onto a television set, Désir cut his teeth in editorial and runway environments, working in the teams of industry heavyweights like Orlando Pita, Guido Palau, and Paul Hanlon. “That experience gave me a solid creative foundation understanding structure, movement, texture, and how hair works with fashion, light, and storytelling,” says Désir. “All of that knowledge translated to the show naturally.”

Emily in Paris was his first television series, and a defining moment in his career. His work on the show has earned him a Guild Award and an Emmy nomination. Each season of the show came with its own brief. For example, in season three, Emily cuts her own bangs (“The rule was clear—the fringe always had to be present and never hidden”), while season four focused on growing it out, exploring both straight and curtain bangs to reflect the character’s evolution.

He’s a Bollywood favourite too, styling the likes of Alia Bhatt and Kareena Kapoor Khan. When he’s not shaping hair for the camera, he’s holding one himself. On set, he began photographing behind-the-scenes images of Collins—intimate, observational visuals that feel a world away from the show’s polished fantasy.

Below, he tells us what working on the show is like, the one tool that never left his kit, and why Emily’s most pared-back hairstyle demanded the most precision.

You’ve created over 64 hairstyles for Emily across five seasons. How do you stop that from feeling random or repetitive?

The idea was to explore hair as a narrative tool. Each season had a clear direction: Season three focused on a real fringe. I could imagine many hairstyles, but the rule was clear: the fringe always had to be present and never hidden. Season four was about growing that fringe, exploring two directions—a straight fringe and a curtain fringe, reflecting Emily’s evolution. I also had a lot of fun collaborating with jewellery and hair accessory brands such as Lelet NY, Mâra Paris, and Epona Valley, which played a key role in elevating the hairstyles. Season five brought a new challenge: finding creative ways to express emotion, maturity, and vulnerability through shorter hair.

Are you present at fittings or do you have complete freedom to do your thing?

The fittings happen primarily between Marilyn [Fitoussi, the show’s costume designer] and Lily. Once all the looks are set, I step in. It’s essential for me to fully understand the scene first: what Emily is doing, who she’s interacting with, and the emotional context. Is it a moment of seduction, a work environment, or a major event? Is she running, dancing, or standing still? The outfit sets the mood, and just as the wrong outfit can change the meaning of a scene, the wrong hairstyle can disrupt the narrative. Based on that, I create a moodboard and discuss it with Marilyn and Lily. She brings her instincts too, so we discuss, adjust, and refine together until it feels right.

What’s Lily like in the chair?

We always have a very clear idea of the look before we begin. Once we start, Lily rarely looks in the mirror—she places complete trust in the process. For her, time in the chair is a moment of calm and grounding, an almost meditative space that allows her to focus and prepare emotionally before stepping into a scene.

Season five’s bob feels like a visual reset. What does it mean for her character?

Short hair exposes the face, the neck, the posture—there’s nothing to hide behind. For Emily, it signals confidence, emotional honesty, and a sense of control, supporting the idea that she has evolved to become more grounded and self-assured. It also creates a cleaner silhouette, allowing her emotions to read more clearly on screen.

Where did you look for inspiration for this season?

Nineties icons—especially women who wore short hair with confidence and elegance rather than excess styling. Linda Evangelista was a big reference.

Did the bob make your job easier or tougher day to day?

Even the slightest growth or imbalance shows immediately on camera, so we trimmed very regularly, sometimes just millimetres. The line had to be perfect at all times to ensure continuity.

Are there any looks in this season that look ‘effortless’ but are actually very engineered?

Many! For example, with the soft, deconstructed wavy bob, we had to build the wave without over-styling to keep the movement looking natural, while making sure it doesn’t collapse or stiffen. The goal is always the same: for it to look like nothing was done, when in reality everything was thought through.

What tool did you rely on most on set?

I’ve used the LoveChrome scalp gua sha comb a lot. It’s amazing at dispersing static electricity, which is crucial for short hair and clean bobs. It allows the hair to settle naturally without having to overload the top with hairspray, avoiding that flat, overly plastered finish, and made sure the hair stayed polished and alive rather than fixed in place. It’s a small tool, but it makes a big difference on camera.

What’s the energy like on set?

Since we first started filming in 2019, we’ve built a team of exceptional people at the top of their game. Everyone knows exactly what to do, and it’s always done with a smile and a peaceful attitude. Even on busy shoot days, there’s a sense of ease and connection. It never feels pressured.

You’ve also been photographing behind-the-scenes moments with Lily. How did that start?

Coming from a fashion background, photography feels instinctive to me. I’ve spent years standing just behind photographers, adjusting hair through the lens, searching for the perfect placement and balance. So, taking pictures backstage became a natural extension of that eye, another way of telling the story. A few years ago, Lily asked me to capture behind-the-scenes moments on her phone. She liked it so much that a few weeks later she asked if I could take a portrait of her for W Magazine. After that, I asked her if she was comfortable with me photographing her backstage with my own camera, and it grew from there.

After five seasons, what still excites you about this job?

Being able to be creative, truly. And of course, working with Lily. She’s incredibly kind, deeply professional, and always open to ideas. There’s a real human connection. It turns the work into something joyful, not just something well-executed.