An editorial on the AMIRI Fall 2026 campaign – photographed by Myles Hendrik, art-directed by Arthur Davison-Sharp, and directed by Mike Amiri.
There is a particular hour in Los Angeles when the city stops performing and starts living. The dinner is over, the excuses have run out, and the people who remain are the ones who never intended to leave. It is this hour – feverish, loose, slightly out of focus at the edges – that AMIRI has chosen to claim for Fall 2026.
For years, Mike Amiri has been building a wardrobe for Los Angeles. With this campaign, he looks increasingly intent on owning its night.
The House on the Hill
The campaign unfolds inside an imagined Laurel Canyon residence, a house that exists somewhere between memory and myth. Photographed by Myles Hendricks with art direction by Arthur Davison-Sharp, the scene is a party in full bloom: musicians, actors, models, DJs, and assorted beautiful creatures who have arrived with no particular intention of going home. Persian rugs overlap beneath bodies sprawled across the floor. Cigarettes hang from fingers. Cocktails migrate between hands. Velvet catches the flash of the camera, and a wonderfully retro turquoise telephone waits for a call that probably should not be made.
Laurel Canyon is fertile territory for a reason. Its mythology arrives pre-loaded – musicians drifting between houses, creative communities forming over records and drinks, living rooms functioning as unofficial cultural salons. Rather than reconstructing the 1970s, Amiri imagines its contemporary descendants. The photographs feel like images recovered from somebody’s very good, slightly questionable night.
The Camera’s Democracy
Hendricks’s direct-flash photography gives the still campaign an appealing intimacy. Limbs wander into frames. People recline on carpets rather than politely occupying furniture. Friends collapse into one another, drinks balance precariously nearby, and bodies acquire the casual physical familiarity that develops several hours into a party.
The camera’s attention feels pleasingly democratic: no single person entirely dominates the evening. Yuta Jinguji, Bakar, Noah Dillon, Chandler Lucy, and The Hellp mix with Avan Jogia, Bella Podaras, Jade Croonenberghs, and Bianca Lexis to form less a traditional campaign cast than an Amiri social circle. They dress differently, yet plausibly belong at the same party.
That looseness suits the collection. Mike Amiri’s combination of relaxed tailoring, velvet, leather, lace, denim, Western references, and elaborate embellishment works best when it appears accumulated rather than styled into submission. Even the new Biscotto bag benefits from this approach – hanging beside its owner amid drinks, cigarettes, and conversation rather than being ceremoniously presented to the camera. Luxury becomes part of the evening rather than the reason for it.
The Pulse of the Film
The accompanying film pushes the proposition further. With The Hellp’s “Here I Am” providing the soundtrack, the static evidence of a party becomes a living environment. Music, movement, and the succession of personalities allow us to circulate through the house. Featuring the LA-born duo both in the campaign and on its soundtrack gives the exercise an authenticity a borrowed song could not. The party feels generated from within Amiri’s creative community rather than assembled around it.
Building a Los Angeles
This is where Mike Amiri’s larger positioning becomes especially interesting. Amiri is beginning to establish something brands can spend decades searching for: recognizable territory. But Mike Amiri’s territory is becoming more specific than Los Angeles itself. From the imagined Chateau Amiri of the previous season to this Laurel Canyon residence, the House is constructing its own map of the city – populated by hotels and houses, musicians and actors, lovers and beautiful strangers.
拉尔夫-劳伦 built an America. Amiri may be beginning to build a Los Angeles. Crucially, it is an LA connected to the founder’s own history and the brand’s longstanding relationship with music – not a convenient California backdrop imported for a campaign.
However, another step is worth taking. The film supplies some of the pulse that the still images occasionally lack, but the campaign remains deliberately documentarian when it might become more mythological. Laurel Canyon is powerful partly because its history has been romanticized beyond reality. Memory has made those nights more mysterious, more decadent, and probably considerably better than some of them actually were.
Hendricks’s flash photography successfully convinces us that we are at the party. A little more visual intoxication could make us believe we had dreamed it. Blur, strange light, fragmented perspectives, unexpected intimacy, distorted time – moments when the evening begins to slip out of focus – could move this increasingly ownable Amiri universe from observation into mythology.
That feels less like a weakness than the next opportunity. The difficult groundwork is already being accomplished: Mike Amiri has the clothes, the characters, the music, the locations, and increasingly a cultural ecosystem that feels specific to the House. Fall 2026 demonstrates that lifestyle branding becomes far more persuasive when the 生活方式 appears genuinely lived. The creative challenge now is to exaggerate that reality just enough that we stop seeing the camera documenting the room and start wondering what happened after it left.
Lots of brands can throw a party. Amiri is getting increasingly good at making you wonder why you weren’t invited. The next step is making you swear you were there.
AMIRI Fall 2026 Campaign – “Canyon Confidential”
- Creative Director: Mike Amiri
- Art Director: Arthur Davison-Sharp
- Photographer: Myles Hendricks | DoP: Cooper Lichacz
- Talent: Yuta Jinguji, Bakar, Noah Dillon, Chandler Lucy, Avan Jogia, Bella Podaras, Jade Croonenberghs, Bianca Lexis
- Stylist: Ellie Grace Cumming
- Hair: Hikaru Hirano
- Makeup: Kennedy
- Casting: Noah Shelley
- Production Design: NuCalifornia
- Production: Farago Projects
- Music: “Here I Am” – The Hellp
Images Courtesy of Amiri
其他品牌推广活动新闻方面，, GapStudio Fall 2026: Zac Posen on Denim & American Utility
