Saint Laurent has closed its fall 2026 campaign with an indoor final chapter lensed by Talia Chetrit, casting Rosé, Liu Wen and Connor Storrie in a stark modernist interior that plays the season’s tailoring against severe architectural surfaces.
The New York-based photographer shot the campaign’s final installment for creative director Anthony Vaccarello, who marks a decade at the design helm of the Kering-owned house this year. The release lands as سینٹ لارنٹ rebounds commercially: comparable sales rose 37 percent in the first quarter of 2026, with sales in directly operated stores up 49 percent on a comparable basis, Kering said in July.
A House Favorite, Indoors
Chetrit, an American fine-art photographer known for intimate portraits that probe identity, has become one of luxury’s most booked image-makers. Her recent credits include Loewe’s inaugural campaign under incoming creative directors Jack McCollough and Lazaro Hernandez, plus campaigns for Phoebe Philo, Proenza Schouler, Celine and Acne Studios; Art in America last December crowned her “the artist on every fashion brand’s mood board.”
For Saint Laurent, she trades the house’s recent nocturnal drama for a quieter domestic register. The setting is expansive yet austere: white tiled floors, mirrored walls, industrial kitchens, broad windows and severe expanses of charcoal carpeting. Against those controlled surfaces, small interventions of color — a cobalt vase, red flowers, scattered arrangements of yellow blooms — register almost unnaturally vivid.
The cast is held to three. Rosé appears alternately poised and relaxed, her lace, brocade, tweed and acid-yellow pieces standing in sharp relief against the pale architecture; in one image she wears a sheer nude bodysuit under a mustard-yellow floral brocade skirt, flanked by mirrored panels. Liu Wen brings a cooler severity to the imagery, seated on a charcoal platform in a bronze satin camisole and stiff metallic silver midi skirt, or framed frontally within the house’s rigid geometry. Storrie shifts between tightly composed tailoring and an undone sensuality, at one point lying shirtless across the dark carpet as though the immaculate environment has temporarily exhausted him.
Smoking Allowed
The campaign sells a collection that WWD’s review of the fall 2026 runway — headlined “Smoking Allowed” — framed around the 60th anniversary of “Le Smoking,” one of founder Yves Saint Laurent’s most iconic signatures. Vaccarello said backstage in March that he had already started working on tuxedos for fall 2026 when he became aware of the milestone.
“But since there’s still this past that haunts me a little bit at Saint Laurent, I feel it’s an obligation to be connected to something, to the history of this house,” he said. “But I always try to move beyond that nostalgia to make it contemporary.”
The founder himself told WWD in a 2005 interview that the Smoking “made women more powerful — in their conquest,” recalling how controversial his softened version of the masculine tuxedo was in the 1960s: “I remember when Françoise Hardy wore a Smoking to the opera in Paris: scandal. People screamed and hollered. It was an outrage.”
Chetrit photographs the body in relation to the architecture — reclining across horizontal planes, standing beneath curving staircases, isolated within vast fields of floor — which makes the silhouettes feel both commanding and strangely vulnerable. The clothes carry the collection’s push and pull: tailoring as structural backbone, with lace, metallic surfaces, brocade, leather, sheer hosiery and flashes of saturated color introducing a more decadent register. Even the accessories are integrated with restraint, appearing as extensions of the styling rather than isolated product moments.
Continuity as Strategy
The casting extends a deliberate continuity play. Rosé and Liu Wen reprise roles from the fall 2025 campaign, which Gray Sorrenti shot for the house with a broader cast; Storrie, the “Heated Rivalry” star who became a Saint Laurent ambassador this year, joins the campaign for the first time. The imagery, released this month, rolled out across the house’s digital channels alongside a short film featuring the trio.
Something about the campaign feels deliberately unresolved, and that ambiguity reads as its strength. The pristine interiors could suggest luxury, isolation, desire or simply the strange stillness of being alone in an impossibly beautiful space. The result is recognizably Vaccarello while opening a slightly less familiar door: Saint Laurent after hours — the party, this time, seems to have happened somewhere else.
Storrie, meanwhile, is having a moment beyond the campaign: he made his Met Gala debut in May in a custom سینٹ لارنٹ look, one of a string of high-profile red carpet turns for the house.
Images Courtesy of YSL
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