Drew Vickers photographs Mathilda Gvarliani and Parker Van Noord in a spare Parisian loft, where faded denim, shearling-trimmed leather and a recurring flash of red are left to collide rather than coordinate
Isabel Marant‘s Fall 2026 campaign has no monument. No château, no elaborate narrative apparatus — just Mathilda Gvarliani and Parker Van Noord inside a spare Parisian loft, photographed by Drew Vickers under the creative direction of Bruce Usher and the house’s own Kim Bekker, with film direction by Shayne Laverdiere, and left largely to get on with it.
That restraint is the argument. Effortless is fashion’s most overworked adjective, and it is notoriously difficult to photograph: the harder a brand works at appearing unbothered, the more visible the effort becomes. Marant’s campaign sidesteps the trap by refusing to perform its own ease.
A Loft, Not a Monument
Vickers gives the images the grain and slight imperfection of photographs pulled from somebody’s personal archive. The white walls are marked, not pristine. The wooden floor is scuffed. Radiators and studio furniture stay unapologetically in frame. Nothing has been polished into the anonymity that luxury advertising usually mistakes for aspiration.
The result is a distinctly Parisian kind of nonchalance, though not quite the postcard Parisienne the campaign language promises. This is closer to the woman who actually lives somewhere: who throws her bag over a radiator and puts her feet on the furniture.
The Body Does the Storytelling
Gvarliani is the campaign’s most persuasive element. Damien Boissinot’s tousled crop and Christelle Cocquet’s understated makeup keep her from reading as overly manufactured, and her physicality carries much of the narrative. She folds herself onto windowsills. She stretches between stools. She raises a handbag almost absentmindedly above her head and gives the camera the occasional wink.
A scrappy sensuality runs through it. The body never settles into the polite geometry of conventional fashion posing, which suits a house with a longstanding attraction to women who appear to have dressed themselves rather than been dressed.
Red as a Pulse, Not a Concept
The clothes benefit from that looseness. Faded denim, red jeans, oversized jackets, shearling-trimmed leather, pointed heels, zebra boots and compact bags are allowed to collide rather than coordinate too neatly.
The recurring red does the most work. A shoe against washed blue denim. A leather jacket against a chalky wall. Trousers beneath an oversized denim jacket. It creates a visual pulse across the campaign without turning color into an obvious concept. That is a harder trick than it sounds, since color-led campaigns usually announce their thesis in the first frame and repeat it until it stops meaning anything.
The close-up of the red pointed pumps balanced on a battered schoolroom-style stool captures something central to Marant. Glamour is more interesting when it has somewhere slightly inappropriate to put its feet.
The Men’s Half, Held at a Distance
Van Noord’s images shift the temperature. Where Gvarliani is restless and playful, his portraits are more contained, almost blunt. The graphic red, blue, black, and white knit introduces an appealingly naïve burst of color; the black leather jacket portrait pulls the campaign back toward a tougher register.
The contrast works, but it is uneven. The men’s images feel less narratively developed than the women’s. Gvarliani appears to inhabit the room. Van Noord is photographed against it more often. A little more of the odd physical freedom afforded to her might have made the two halves feel equally alive.
The Archetype, Roughened
That imbalance points to both the campaign’s strength and its limitation. The Parisian loft, the undone hair, the grainy photography and the studied spontaneity are hardly unexplored territory for a French label built on bohemian cool. Invoking the archetypal Parisienne is even risky, a fashion character so thoroughly mythologized she practically deserves her own agent.
Marant has a legitimate claim to the vocabulary, though. The campaign succeeds because it does not labor to update the archetype through spectacle. Vickers and the creative team roughen its edges instead, giving familiar codes enough humor, movement, and texture to feel lived rather than reenacted.
Selling Without Appearing to Sell
Most importantly, the images make the clothes look desirable without appearing to work terribly hard at selling them. In an advertising landscape increasingly devoted to elaborate world-building, that simplicity reads as almost cheeky.
The campaign film, titled “Winter 2026 Campaign,” runs on the Isabel Marant YouTube channel, which has 12,500 subscribers.
Isabel Marant’s Fall 2026 woman doesn’t need to announce that she is cool, and the campaign is smart enough not to announce it for her. Effortless may be fashion’s most overworked adjective, but every so often, someone earns the day off.
The Credits
- Isabel Marant creative director | Kim Bekker
- Creative art director | Bruce Usher
- Photographer | Drew Vickers
- Director | Shayne Laverdiere
- Models | Mathilda Gvarliani, Parker Van Noord
- Hair | Damien Boissinot
- Makeup | Christelle Cocquet
- Manicurist | Alexandra Janowski
- Casting directors | Giulia Massullo, Piergiorgio Del Moro
Images courtesy of Isabel Marant
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