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Photo by Drew Vickers and styled by Emmanuelle Alt, the campaign puts Mathilda Gvarliani in a light-filled Paris loft for a season built on denim and red leather.
Natural light does most of the work in Isabel Marant‘s new campaign. There is no studio backdrop, no obvious set dress beyond a Paris apartment that looks genuinely lived in. Photo Drew Vickers shoots model Mathilda Gvarliani inside that loft for the brand’s Fall/Winter 2026 campaign (labelled Hiver 2026, or Winter 2026, on the house’s own site), and the result images read less like advert and more like a document of someone’s actual Sunday morning.
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Isabel Marant’s own description of the season, publish alongside the campaign, frames it plainly: this is a woman who embodies the natural allure of the Parisienne, moving through an intimate, light-filled loft where she feels free to be herself. Clean-lined denim, square-cut leather jackets and artisanal details define the silhouette, the brand says, pairing masculine volumes with an attitude that stays instinctive and unforced rather than composed for the camera. It is a familiar Isabel Marant register, stated with unusual directness.
Vickers himself is not a house exclusive. The American photographer, who splits his work between Paris and New York and is represented by Art Partner, has spent the past several years shooting campaigns for Prada, Louis Vuitton, Chanel Beauty, Jacquemus, Supreme, The Row and Calvin Klein, alongside editorial work for i-D, Italian Vogue, Self Service and The Gentlewoman. Earlier in 2026 he photographed Louis Vuitton’s Spring/Summer menswear campaign starring Jeremy Allen White and Pusha T, a considerable more staged, cinematic assignment than the quiet, apartment-bound register he brings to Isabel Marant. The contrast is instructive: Vickers can clearly do spectacle, and chose not to here.
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stir
The choice to shoot inside an actual Paris loft rather than a constructed studio environment is doing specific work here. Gvarliani is rare shown facing the camera head on; she leans against door frames, sits mid conversation, catches light from an unseen window. Emmanuelle Alt‘s styling reinforces that same looseness, favoring direct combinations, straight-leg denim against boxy leather, over anything that reads as constructed. A companion film, directed by Shayne Laverdière, extends the same idea into motion rather than adding a separate narrative. Isabel Marant’s own site runs two such decorative video clips on its homepage during the campaign window, both silent loops rather than a scored, edited short, which keeps the emphasis on the apartment itself rather than any added soundtrack or voiceover.
Alt’s own history with Isabel Marant runs deeper than a single season. Before her decade running Vogue Paris as editor in chief, from 2011 to 2021, succeeding Carine Roitfeld, Alt had already spent years as a brand consultant to Isabel Marant, and she is widely credited, alongside the designer herself, with helping define the loose, slightly masculine, deliberately undone version of Parisian style that both women have spent careers refining. Her final issue of Vogue Paris, published in May 2021, marked the magazine’s centennial; the styling work she has done since leaving the title has stayed close to that same sensibility.
There is a reason Alt keeps getting called back for this specific brand. Her own personal style, jeans, a sharp blazer, towering heels, sleeves pushed to the elbow, has been written about for over a decade as a kind of walking advertisement for exactly the silhouette Isabel Marant sells: androgynous but not severe, undone but never sloppy. Karl Lagerfeld once described her as having big shoulders, long legs and one hip out, an assessment that could just as easily describe the way Gvarliani stands in several of the campaign’s stills. Styling a brand whose whole appeal rests on looking unstyled is a harder trick than it sounds, and it is one Alt has been running since long before this particular loft, this particular season.
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Denim anchors the collection, and the campaign leans into it accordingly. The Devyn jacket, a blue denim piece finished with a leather collar, retails at 890 euros; the Valineo jacket, also denim, wraps a curly faux fur collar around the same sil for 990 euros. Both read as reworkings of a garment Isabel Marant has built a reputation on for three decades, rather than a seasonal detour into trend denim.
The Daya Regular jean carries that same denim story across several finishes: a vintage blue and a straight blue at 495 euros each, a used blue wash at 650 euros, and a red colorway at 495 euros that gives the collection its clearest jolt of color against all that indigo. Faded, worn in tones dominate most of the range, giving the collection a distinctly lived in quality that matches the loft setting rather than fighting it. Isabel Marant’s own product photography shows the jeans paired with cropped jackets and boxy silhouettes, echoing the exact combinations visible in the campaign stills.
None of this denim reads as a seasonal gimmick, which matters given how much of fashion currently treats 90s revivalism as a trend to be cycled through rather than a genuine reference point. Isabel Marant has built decades of runway and retail history on exactly this kind of straight leg, slightly worn denim, so a campaign built around it functions less as a nostalgia play and more as the brand simply returning to a category it never really left. The leather collar on the Devyn jacket and the faux fur trim on the Valineo give the two pieces just enough distinction from each other to justify existing side by side in the same collection, rather than reading as two versions of the same idea.
An oatmeal-colored Marant sweatshirt with a V-neck collar, featuring a large black logo of a figure read a book above the brand name.
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Leather carries the season’s other half of the story, and it arrive almost entirely in one color: a saturated, glossy red the brand calls Deep Red. The Valina coat, a shearling collared leather piece priced at 2,990 euros, is the collection’s clearest statement item, offered in that Deep Red alongside a black colorway. The Valka pants, in smooth leather with patch pockets at 1,990 euros, follow the same two color options and give the red palette a matching bottom half rather than isolating it to outerwear alone.
Footwear picks up the same hue story at a lower register. The Luza pump, in a python effect leather finished in scarlet red and sahara, sells for 790 euros and gives the collection its most directly seasonal accessory: a pointed, precise shoe built to move the same denim-and-leather silhouettes from daytime into something dressier after dark. Where the jackets and coats lean into volume, the Luza stays sculptural and comparatively restrained, which is presumably the point.
Leather has always carried more weight at Isabel Marant than a single seasonal color story might suggest. The house has built entire past collections around exactly this kind of shearling collared coat and patch pocketed trouser, and pricing the Valina coat at 2,990 euros places it firmly among the collection’s investment pieces rather than its entry points. That the same silhouette comes in both a near-black and a saturated Deep Red, rather than a safer neutral alone, is itself a small statement about how confident the house feels about this particular color landing with its customer.
accessor
Isabel Marant’s bag offering for the season jure with a more coltish set of finishes than the rest of the collection. The Bolton bag, in a pony leather with a zebra print, runs 1,390 euros in its full size and 850 euros in the smaller Bolton XS, which is also avail in black or scarlet red pleated leather. A third bag, the Oskan Moon, brings the zebra print into a studded leather silhouette at 890 euros.
Zebra print reappears once more in the Jany Low ankle boot, a leather bootie priced at 1,290 euros, giving the collection three separate uses of the same animal print across three different product categories: bag, boot, and, in the case of the Bolton, a second bag entirely. It is a small but deliberate bit of repetition, the kind of detail that reads as a house signature rather than an accident, and it threads the accessor back into the same 90s adjacent attitude that outlets covering the campaign have picked up on in the ready to wear.
The Bolton itself has been in Isabel Marant’s lineup across multiple recent seasons in various leather treatments, from a bubble textured black and silver version to a plain chalk colorway, which makes the pony hair zebra print used here one variation within a running product line rather than a one season novelty. Pairing an established bag silhouette with a newly introduced print is a fairly standard way for an accessories line to manage risk: the shape is already proven with customers, so the print is the only vary actual being tested this season.
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Gvarliani is not a new face for this particular chapter of Isabel Marant. She fronted the house’s Fall/Winter 2025 collection as well, under Kim Bekker‘s first season leading the collection independently, which makes this campaign something closer to a continuation of an established pairing than a fresh casting decision. Bekker, a Dutch designer who first worked at Isabel Marant as creative director between 2008 and 2018, returned to the house in 2021 as a consultant before being named artistic director, overseeing womenswear, menswear and accessories alongside founder Isabel Marant herself.
That arrangement, a working designer stepping back from day to day creative direction while remaining involved in the business, is relatively rare in fashion, and the brand’s own statements have been careful to frame Bekker’s role as working alongside Marant rather than replacing her outright. Bekker’s own path back to the house ran through Saint Laurent, where she spent roughly a year and a half as design director for pre-collection and finished products between her two stints at Isabel Marant, a detour that gave her a second reference point beyond the label she had already spent a decade shaping. Marant, born in 1967 in Boulogne-Billancourt, founded her eponymous label in 1994 and staged her first Paris Fashion Week show the following year with friends standing in as her models. The label has grown steadily since, expanding into menswear in 2017 and drawing global attention in 2013 when an H&M collide sold out within 45 minutes of going live.
A young man with dark curly hair wearing a black leather aviator jacket with a black shearling collar, standing against a concrete wall with the word “MARANT” in large white letters at the bottom.
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The Fall/Winter 2026 pairing of Vickers, Alt and Gvarliani also reads differently against what immediately preceded it. Isabel Marant’s Spring 2026 campaign had used an entirely different team: photographer Robin Galiegue shooting models Mona Tougaard and Parker Van Noord in a warmer, sun-lit register built around lace, suede and layered belts, with Alt still styling but work alongside a different visual author behind the camera. Seasons at Isabel Marant rotate photographers more often than they rotate stylists or muses, which makes the Vickers and Gvarliani reunion for Fall/Winter 2026 read as a deliberate return rather than a coincidence of scheduling.
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Isabel Marant’s Fall/Winter 2026 campaign does not lean on any of that history explicitly. It does not need to. A model who already wore the clothes a year earlier, a stylist who helped define the house’s form before either of them worked together on this specific shoot, and a designer who has spent four years easing into a role she share rather than owns ouright: the continue is built into the credit, either or not anyone read the campaign notices it.
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