Many of whom have been eagerly counting down the days until the upcoming season 5 (today is the day!).
The first season, released in 2020, was streamed by 58 million households worldwide and according to Netflix, Season two became the most watched show of 2022. Also receiving two Golden Globe nominations in 2021, ‘Emily in Paris’ continues to be a hugely successful series with audiences worldwide.
And, for those of you who aren’t familiar, or are new to the show, let me give you a quick rundown.
In short, Emily Cooper, played by Lily Colins, is a young marketing executive from Chicago, who got offered an incredible opportunity to move to Paris to work for a luxury French marketing agency, Savoir.
Well, there’s far more to the show than unexpected romances, champagne and Instagram-ready outfits – because we also witness what happens when marketing approaches and products from one culture enters another: misunderstandings, some resistance and (if done right) adaptation.
Upon arrival, there’s an immediate clash as Emily navigates her way through adapting to her new reality. I know many people, particularly in Season one, thought wow, Emily’s having a rough time in Paris. However, have you considered that it’s partly down to her lack of French language and that her marketing campaigns weren’t always localised for the French context?
In this blog, I’ll explore what ‘Emily in Paris’ can teach us about the importance of localisation and cultural adaptation, whether you’re producing media, marketing, working internationally or simply plan to expand in 2026.
What Emily in Paris teaches us about localisation:
- How cultural values influence marketing success - what feels bold or creative in one country may feel inappropriate in another
- The difference between translation and transcreation - adapting intent, tone and message
- Why audience perception should drive campaigns - not assumptions or personal opinions
- Why research is essential before expanding into new markets and how poor localisation can harm brand reputation
Below, we’ll explore both sides: the moments where her lack of localisation creates drama, and the moments where her adaptations pay off.
What happens when localisation is absent?
One of the main lessons from the first season is that most of the time, a lack of localisation comes with a lot of difficulties.
Emily arrives in Paris with no knowledge of the French language or local norms, just positive energy and American marketing confidence.
Although her marketing strategies quickly win over clients and result in a great success for the company, her co-workers dismiss them as bizarre and unsophisticated, or simply “too American”.
Why did she not receive a warm reception?
In one of her first professional interactions, she uses English (and a translator app) to introduce herself. Her French colleagues are taken aback, since in their context, not speaking French suggests she has no real interest in integrating or connecting properly with clients.
It’s clear that Emily did not make a good first impression with her boss Sylvie, who repeatedly expresses her frustration that she came to Paris without bothering to learn the language.
So, this really highlights the power of language if you’re wanting to connect and accelerate relationships, particularly in professional settings.
We can’t forget there’s also the awkward moment when Emily mistakenly mis-interprets the French cheek-kiss greeting with her new friend Camille, leading to a brief awkward kiss!
So, the first lesson here is to always do your research if you want to make a good impression in a new region.
Now, where does transcreation fit into Emily in Paris?
Watching the show back, I observed some examples of where transcreation was used or needed (it’s truly key to marketing in another country!).
Emily in Paris demonstrates how the two styles vary, as a French marketing style often being more formal and subtle, sometimes clashes with the American style which appears to be social media heavy and filled with bolder statements.
Transcreation means that you're adapting your ideas, humour and values so that it's fully understood and achieves the same reaction to a different audience. Emily’s later successes happen when she transcreates, so she’s keeping the intent of her idea but reshaping the execution ready for a French audience.
A standout example comes from Emily’s work on a campaign in Season 1, where the product is a feminine hygiene brand with a masculine name. Rather than rewriting the campaign, Emily takes to social media, creating a post that highlights empowerment and confidence.
Transcreation is an essential when marketing in another region.
By adapting the approach rather than changing the product itself, Emily ensures the campaign connects with the local audience while staying true to the brand’s intent.
If this same campaign were being launched in another country, transcreation would be essential to avoid offending or confusing the audience, while still preserving the product and brand identity.
Explore our transcreation services.
The sexy or sexist debate: An example of localisation
One episode that really stands out is "Sexy or Sexist", which offers a clear example of why localisation matters when campaigns need to reach certain audiences.
This particular fragrance campaign centres on a nude shoot that the French client Antoine sees as “sexy,” while Emily immediately questions whether it will be perceived the same way elsewhere. Looking at it through an American lens, she explains that she doesn’t think American women will respond to this, describing the imagery as rooted in the “male gaze.”
The client, however, struggles to see the issue, asking “what is wrong with the male gaze?” and defending the campaign as surrealism with a long artistic tradition in France. Emily’s concern isn’t about changing the brand’s identity, but about how the message will translate (or perhaps fail to) in the U.S., where it could be seen as more controversial.
Localisation saves brand reputation
As she puts it: “I want to protect your brand”, perfectly capturing a strong principle of localisation and cultural adaptation: protecting brand reputation by understanding how meaning, tone and values can shift between audiences.
Emily goes on to say:
“It doesn't matter what I think, it matters what your customer thinks”.
She agrees to launch a Twitter poll asking audiences to decide whether the campaign is “sexy or sexist.”
By using the campaign, itself to spark conversation and letting the public weigh in, the brand actively engages its audience rather than making assumptions.
It’s an excellent reminder that there isn’t necessarily one correct approach, since what resonates can depend on norms, values and sensitivities.
That’s why research, audience insight and cultural understanding are a must before launching any campaign internationally.
How much can brands learn from this?
A lot, actually.
Before you launch, it’s important to be aware of things like language, tone/style, humour and values. Also, don’t assume what works here works there. A campaign style, message or aesthetic that is a success in one country might struggle in another.
When you neglect localisation or don’t make it a part of your strategy, whether in media, marketing, communication or business, three things are likely to occur:
- Alienation instead of connection: As demonstrated in the series, not making an effort with the culture or language only suggests to others that you aren’t serious about the local context or really adding values. Now, in real-world terms you might experience things like poor brand fit, audience distrust or harm to your business’ reputation.
- Miscommunication and inefficiency: Ignoring tone, formality, social values all lead to confusion or offence (like Emily’s awkward letter to Camille in French, full of translation app errors).
- Challenges in global teams: Just like Emily’s American-style marketing ideas clash with French business etiquette (slower pace, more formality, expectation of French language, different norms around spontaneity and relationships), real companies expanding internationally without adapting may run into issues.
Emily’s colleague Luc’s memorable line “You live to work; we work to live” captures how Emily’s energetic, social-media-first marketing approach initially clashes with Savoir’s slower, more relationship-driven, traditional style.
So, instead: transcreate your messages, employ expert translators and linguists and remember to be open to feedback.
Conclusion
It’s a timely reflection, as fans prepare to sit down, and binge watch the new season (myself included).
Yes, Emily’s adventures in Paris aren't just about city-life or romance dilemmas, they also explore identity, values and social norms.
Fast forward, a few years into her journey in Paris as she adapts and begins to understand the culture more – her relationships start to deepen and her campaigns flourish (without so many of those conflicts with her boss).
As Emily says to Sylvie: “I know some things get lost in translation, but just know I’m finding my way”.
How Wolfestone can support you
For anyone who’s planning on expanding internationally or launching campaigns in new markets in 2026, localisation and cultural adaptation should be at the centre of your plans.
This is where Wolfestone UK come in with our expert localisation and transcreation services.
Get a free test piece today.
