The Campaigns We’ll Remember From Fall 2026

After years where the cleanest image, biggest celebrity and most perfectly controlled set seemed to win, Fall/Winter 2026 feels noticeably more interested in character. People look like people, clothes are moving, locations actually matter. There is humour, weirdness, sensuality and, thankfully, some really good casting.

From FKA twigs roaming London for Burberry and Teyana Taylor turning her body into sculpture for Alaïa, to LOEWE climbing 3,470 metres up Mont Blanc, these are the campaigns currently filling our saved folders.

LOEWE Goes Very, Very High

Jack McCollough and Lazaro Hernandez have taken LOEWE to the top of a mountain. Literally.

Photographed by Talia Chetrit at Pointe Helbronner in the Mont Blanc Massif, the Fall/Winter 2026 campaign places the collection against snow, ice and granite at elevations reaching 3,470 metres. And it works. Bright yellow knits, huge shearling mittens, inflatable parkas and the new suede Amazona 180 look even more exaggerated against all that white.

The cast is just as eclectic: Julia Garner, Théodore Pellerin, Lil Yachty, Laïka Blanc-Francard, Beau Gadsdon, Nyawurh Chuol, Carin Herven, Siegfried Blanche and artist Cosima von Bonin. Her work also appears across special Amazona 180, Puzzle and Flamenco bags, bringing lazy animal characters, florals, checks and unexpected colour into LOEWE's leatherwork.   Snow, surreal colours, enormous clothes and Lil Yachty on Mont Blanc. We're sold.

More on Loewe.com

Givenchy Celebrates Women as They Are

For Sarah Burton's Givenchy, the women are the story. Shot by Juergen Teller in Croatia, the Winter 2026 campaign stars Eva Herzigova, Kaia Gerber, Nyaduola Gabriel, Liu Wen and French writer and former lawyer Constance Debré, all women connected to the wider creative family around Burton's Givenchy.

“There’s a directness about the women in the campaign which speaks to their personality and strength,” Burton explains, adding that her work at Givenchy centres around celebrating “the reality and the brilliance of all kinds of women.”

Against hard Croatian granite, the tailoring, leather white shirts, draped evening dresses and extravagant accessories feel almost secondary to the personalities wearing them. That's precisely why the pictures work.

More on Givenchy.com

Teyana Taylor Is an Alaïa Woman

There are certain castings that require very little explanation. Teyana Taylor for Alaïa is one of them. For Summer Fall 2026, David Sims photographs Taylor in tightly framed black-and-white images that make full use of her background in dance and performance. Her body bends, balances and moves through the clothes, turning Pieter Mulier's sculptural silhouettes into something alive.

There are second-skin knits, anatomical cut-outs and a metallic embellished mini, but it's Taylor's physicality that makes everything click.

Alaïa has a history of working with performers whose bodies are part of their artistic language, from Grace Jones to Tina Turner, and Taylor feels like a natural continuation of that lineage.

As Taylor puts it herself, the collection is “bold” and “feminine,” with a strength she connects with. Very hot. Very Alaïa. No notes.

More on Alaia.com

Burberry Takes FKA twigs Back to London

FKA twigs in Burberry. In London. At night.Sometimes that's enough of a concept.

Daniel Lee's Winter 2026 campaign returns to the British capital, with Glen Luchford shooting cinematic images around the River Thames. FKA twigs, who also provided the soundtrack to the runway show, appears alongside Romeo Beckham and a wider cast against London landmarks and city lights.

The location completes a story that began at the Winter show inside Old Billingsgate Market, where the set referenced Tower Bridge. Now the real city becomes the backdrop. And the clothes are wonderfully British without feeling like costume: trenches become eveningwear, leather appears across coats, jumpsuits, kilts and jogging pants, while checks, rainwear and silk scarves keep the Burberry vocabulary firmly intact.

FKA twigs walking around London in Burberry is also exactly the sort of fashion image we would happily pin to a wall.

More on Burberry.com

CELINE Keeps It Effortlessly Cool

For CELINE Winter 2026, photographer Zoë Ghertner captures the collection with the kind of undone, spontaneous energy that makes you want to immediately copy the entire look. Bold flashes of red and pink meet sharp black and white, oversized scarves, sculptural bags and plenty of attitude. The accompanying film is by Massimiliano Bomba.

It feels polished without being too perfect, and very, very cool.

More on Celine.com

Tom Ford Wants You to Come As You Are

If some campaigns this season are escaping into fantasy, Haider Ackermann's Tom Ford is interested in getting uncomfortably close.

For AW26, Ackermann continues his exploration of seduction through a cast of characters of different ages and walks of life, photographed against a clinical white background in glaring light. There are no elaborate sets or props to hide behind. Just the clothes, the camera and the people wearing them. Ackermann describes them as people marked by lives intensely lived: proud, individual, imperfect and very aware of themselves.

His invitation is simply: “Come as you are.” And then comes the very Tom Ford part. Ackermann imagines these characters as people who have all, in his words, “flirted with debauchery, but now they stand straight.”

We love that. Seduction here isn't about perfection or looking impossibly polished. It's in someone's face, attitude, clothes, age, history and whatever they may have got up to before arriving in front of the camera. Sexy is interesting again.

More on TomFord.com

Valentino Finds Beauty in Things That Shouldn't Belong Together

Under Alessandro Michele, Valentino's Interferenze campaign takes us to one of Rome's strangest and most beautiful museums: Centrale Montemartini.

The former electricity plant places ancient Roman sculpture amongst enormous turbines, boilers and industrial machinery. Instead of simply borrowing the location because it looks cool, the campaign builds its entire idea around those collisions: gods and machines, marble and steel, antiquity and modernity.

Photographed by Glen Luchford, bodies and clothes appear amongst statues and machinery as shafts of light cut through the darkness. The softness of the garments meets heavy steel, while living bodies seem to continue gestures begun by figures carved centuries ago.

It's dramatic, slightly strange and unapologetically intellectual. In other words, Alessandro Michele is Alessandro Michele-ing again and we're very happy about it.

More on Valentino.com

On Wants FKA twigs to Slow Down

After exploring training together, On and FKA twigs are slowing things down for Fall/Winter 2026, turning their attention to recovery and the idea that rest is part of movement too.

Creative-directed by twigs and photographed by Sharna Osborne with a grainy '90s VHS feel, the campaign sees her alongside dancers in sculptural, restorative poses. At its centre is the new Cloudmonster 3 Mule, On's first mule silhouette, designed specifically for those slower post-workout moments.

FKA twigs telling us to lie down and recover? Finally, a fitness trend we can fully commit to.

More on ON.com

Calvin Klein Gives Tate McRae a Pair of Jeans and Lets Her Dance

The equation here is beautifully uncomplicated: Tate McRae + Calvin Klein jeans + dancing + “Groove Is in the Heart.”

The first chapter of Calvin Klein's Fall 2026 Feel the Fit campaign is directed and photographed by Carlijn Jacobs, with Tate moving and dancing through ordinary settings as soon as she slips into her jeans. The campaign deliberately plays with the energy of Calvin Klein's '90s imagery, filtered through Tate's own performance style.

The denim itself includes Low Rise Baggy, High Rise Loose and the returning '90s Straight jean. Is reinventing the fashion campaign necessary when you have Tate McRae dancing in jeans? Probably not.

More on CalvinKlein.com

Fendi Makes Walking an Art Form

For Maria Grazia Chiuri's first collection at Fendi, one of the House's familiar shoes gets a rethink.

The Colibrì slingback, first introduced for Spring/Summer 2018, returns as the Very Colibrì, stripped down and reshaped with a slimmer heel and deeper V-shaped vamp.

Photographer Michal Pudelka takes it to Rome's Stadio delle Terme di Caracalla for The Art of Balance, where models are captured in surreal moments of movement and balance. Rather than a straightforward shoe campaign, the imagery turns the act of walking into something closer to choreography.

It's feminine without being precious, elegant without standing still, and an intriguing first glimpse at how Chiuri is approaching the Fendi woman.

More on Fendi.com

Lacoste Goes Back to the Court

While everyone else is climbing mountains and wandering through Roman power stations, Lacoste is going back to where it all began: tennis.

The new Slam Break sneaker takes elements from the brand's sporting archive and brings them into a lifestyle shoe, including its Absorption De Shock technology originally developed for performance tennis models in the 2000s.

The accompanying campaign moves between a footwear atelier and the tennis court, playing with Lacoste's visual history rather than treating heritage too reverentially. It's clean, slightly retro and playful, much like the shoes themselves. And the colourways are particularly good: classic cream and grass green, chocolate brown and beige, alongside pink, navy, mint and sky blue.  

More on Lacoste.com

PUMA Lets the Suede Bloom

PUMA's iconic Suede gets a very pretty makeover for its latest Middle East campaign. The new Suede Bloom adds faux pearls, satin and frilled laces to the sneaker, with Powder Pink, Vintage Cream and Black colourways.

Regional talents including sisters Rania, Dania and Talia Fawaz front the whimsical campaign, each putting her own spin on a sneaker that has been reinventing itself since the late '60s.

More on Ae.Puma.com