AW25 Campaigns: Burberry, Stella McCartney, Dsquared2, Valentino

AW25 campaigns have been coming thick and fast with high-end brands in the forefront and many of them are forging strong links between the themes of their catwalk shows and the campaigns. Stella McCartney is also unveiling a new streaming shopping initiative as part of hers.

The campaign itself is called ‘Laptop to Lapdance’ featuring Eva Mendes, capturing day-to-night house codes. Presented first during Paris Fashion Week, it’s a “wardrobe for the working woman – celebrating her at all stages of her life”. 

The campaign is set in StellaCorp, an “imagined material innovation company pioneering the next generation of cruelty-free alternatives”.

Mendes will feature in both the campaign and the aforementioned immersive, interactive digital shopping session titled ‘Shop With Stella: Winter 2025’ – available to stream via the brand’s website from 15 September. This is “the first in a new series for the British designer. Once again pioneering a way forward, it introduces an innovative experience for global audiences to engage and shop”.

Back with the campaign, other talents featured include Natalia Vodianova, Amelia Gray, Karolina Spakowski, Haojie Qi, Song Ah Woo, Angelina Kendall, Yilan Hua, Agel Akol, Caitlin Soetendal, Claire Marie, Victoria Fawole and Hanna Leszek (all of whom walked the Winter 2025 fashion show in March).

For Burberry, the new season is all about the fabrics and grand interiors that inspired Daniel Lee’s collection for the Burberry Winter 2025 show. “We wanted to bring the collection to life and to tell the story behind all those incredible textiles,” Lee said. 

Shot by Sam Rock in the drawing rooms and grounds of Thomas Ripley’s Palladian masterpiece, Wolterton Hall, the images recall the inspiration behind the show.

The campaign includes British actor Rupert Everett, model and artist Jeny Howorth, and Luther Ford, known for his portrayal of Prince Harry in ‘The Crown’. They appear alongside models Lina Zhang, Assa Baradji, Tristan Watkins, Leon Keenan and Iris Lasnet (who made her runway debut in the show).

And in line with Burberry’s new focus, outerwear has a starring role with raincoats, quilted jackets, a car coat, and lots of knitwear that reference historic tapestries.

For Dsquared2, the new campaign is a “wild night out”. The label’s offering up “a bare leg stepping from a black limousine. A stolen kiss on the dance floor. A blur of red neon lights in a graffitied bathroom. A flash of crystals and denim”.

Directed by Mert & Marcus with creative direction by Dean and Dan Caten in partnership with long-time collaborator Giovanni Bianco, the new “extends the epic scale and nightlife narrative of the runway show. Celebrating 30 iconic years of Dsquared2’s one-of-a-kind vision, the show imagined a convergence of the personalities and provocateurs who populate the Dsquared2 archive, brought to life by both longtime muses and fierce new faces”.

The imagery picks up on this thread with a “starkly stylish visual direction”. The direct, black-and-white photographic perspective “finds moments of connection and celebration amid the ecstatic chaos of an all-night rager”. 

Irina Shayk, Alex Consani, and Victor Perez lead an eclectic cast of “style mavericks who aren’t afraid to get sweaty in their nice clothes. The whirlwind energy of this unforgettable night radiates in many directions, but it all comes back to Dsquared2: the name that says it all”.

As for Valentino, Alessandro Michele has revisited the topics of the AW25 show, ‘Le Méta Théâtre Des Intimités’, to continue questioning the close relationship between identity and robing practices”.

Shot by Glen Luchford, Michele said: “Here comes the public bathroom again: a counter-place where private and relational dimension mingle, where the visible challenges the invisible, where decency collides with guilty pleasure and exposure flirts with occultation. It’s a liminal space that, in this campaign, becomes enriched with new bodies, gazes and encounters, becoming an unfailing scene of possibilities.

“It was like imagining a life after the show: how many other existences could that uncanny and choral space host? How many other unspoken desires could take shape there? And which different intimacies would be reflected in its corridors?”