Naomi Campbell, J Balvin, Lucien Laviscount Take in The Paris Scenery at Dior

“This is f—ing nuts, guys,” exclaimed British actor Lucien Laviscount, who plays Emily Cooper’s latest love interest in hit Netflix show “Emily in Paris,” as he entered the venue for the Kim Jones’ latest Dior men’s wear show on Friday. “This is Lucien in Paris right now,” he said taking in the monumental reproduction of the Pont Alexandre III and the banks of the Seine with wide eyes.

While he was enjoying this visit, he wouldn’t be drawn into revealing if he’d become a fixture in town. “Am I coming back? We don’t know yet. I had a good conversation with Darren Star. Wherever it goes, I’m super excited for them,” he said, before backtracking. “Did I say too much? F—. I’m leaving, I’m leaving now,” he joked as he made for his seat near Thomas Doherty, who plays fellow rumor-mill fodder Max Wolfe in the “Gossip Girl” reboot.

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Colombian rap star J Balvin nodded approvingly at the view as he talked to streetwear designer Don Crawley, who was wearing a cap that blended the late Louis Vuitton designer’s initials with the famous L.A. emblem of Los Angeles.

The scenery — showing the stretch near Avenue Montaigne and the Grand Palais — was familiar to Olivier Rousteing, whose office is nearby.

The Balmain creative director took his seat with obvious relish, and not just to support Kim Jones as a friend. “[Coming] to the show is always a great moment and my escape,” said the designer, whose own fall 2022 show is already on the horizon — and perhaps a second season of short-form drama series “Fracture,” too. “Right now, what’s beautiful about fashion is that we have no boundaries and we can all be together,” he added.

After the show, while most guests were busy taking selfies in front of the set or trying to catch a glimpse of Naomi Campbell, architect Peter Marino was appreciating the romantic view for a different reason. “I kept trying to figure out the perspective — some elements were flat, some extended. Very beautifully done,” and the perfect backdrop for the “really, really good” clothes Jones offered, he thought. Although set design “isn’t real architecture and I’m a little strict about that… the scenography was superb,” he concluded.

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