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Juergen Teller photographs five women from Sarah Burton’s Givenchy circle across Croatia’s granite coastline, breaking a three-season run of studio-shot campaigns.
Givenchy’s Winter 2026 women’s campaign features five names who all sit somewhere inside creative director Sarah Burton’s working circle: models Eva Herzigová, Kaia Gerber, Nyaduola Gabriel and Liu Wen, alongside French writer and former criminal lawyer Constance Debré. None of them are new faces to the house. Each contributed to fittings at the Givenchy studio ahead of Burton’s Fall Winter 2026 runway show in March, and all five appeared in that presentation itself, meaning the campaign functions less like a fresh casting and more like a reunion. Givenchy’s own press materials reportedly refer to the group collectively as “The Women,” and several of the same names, including Gabriel, Gerber, Herzigová and Wen, also appeared in Burton’s Winter 2025 campaign a year earlier, shot in that instance by Collier Schorr.
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Burton described the choice in a statement, frame the directness of the women’s presence as a way of foreground their individual personality and strength, and tying the whole exercise back to a broader intention behind her Givenchy work: making space for the reality of different kinds of women rather than a single idealized type. The campaign was shot by Juergen Teller, styled by Camilla Nickerson (who has styled Burton’s collections and campaigns since her debut season), with makeup by Daniel Sällström and hair by Kei Terada. Jess Hallett, who cast the runway show itself, also handled casting for the campaign.
Nyaduola Gabriel, the least widely known of the four models, is a South Sudanese model born in Kenya who made her runway debut at Valentino and has since walked for Miu Miu, Saint Laurent, Hermès, Chanel and Alexander McQueen, among others, in addition to campaigns for Mugler, Ferrari and Toteme.
The “family” frame extends beyond this particular shoot. French model Emeline Hoareau, who is not part of the Croatia cast, appeared in Burton’s original debut campaign for the house and has walked both of her ready-to-wear shows to date; she also fronted the campaign for The Snatch, Burton’s second major handbag launch, shot by David Sims in January 2026 wearing the leather bra and wrap skirt she had worn on the Spring Summer 2026 runway months earlier. The pattern across all of these projects is consistent: rather than casting new faces each season, Burton keeps return to a relative small, recurring group of people and asking them to carry different pieces of the story forward.
stir
The campaign was shot on Croatia’s Adriatic coast, a location Givenchy itself described as a landscape of steely granite. Teller photographed the cast across stone beaches, concrete boardwalks, coves and makeshift outdoor showers, using the terrain as a stand-in for the studio Burton’s previous campaign had rely on. One outlet identified the specific shoot location as Makarska, a coastal town on Croatia’s Makarska Riviera known for its pebble beaches and the Biokovo mountain range rising directly behind it, though this detail was not independently corroborated elsewhere and is noted here as a single-source claim.
The results lean into rock, sea and irregular natural surfaces rather than a controlled backdrop. Coverage of the campaign has repeatedly framed the setting as a deliberate contrast to the precision of Burton’s tailoring, with the roughness of granite and stone playing off the cut of the clothes rather than complementing it. One outlet described the surroundings as stark and austere, arguing that the harshness of the terrain is precisely what lets each woman’s individual identity come through, since there is no soft studio lighting or seamless paper backdrop to smooth anything over. Age, identity and sensuality all read differently against that kind of terrain than they would against a seamless studio wall, which appears to be the point: nothing about the environment is idealized, and neither, by design, are the five women posed within it.
The choice of Croatia also breaks from where Burton has shot her prior campaigns. Her debut Fall 2025 imagery, and the Spring Summer 2026 and Winter 2025 campaigns that followed it, were all produced in controlled indoor settings, meaning this is the first time her Givenchy work has left a built environment altogether for an unpredictable outdoor location. The campaign was published online on August 27, 2026, roughly two weeks after Burton’s Fall Winter 2026 collection began arriving in Givenchy stores.
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wear
Each woman in the campaign is styled around a different piece of the collection’s identity. Herzigová appears in swimsuits paired with black leather thigh-high boots finished in gold hardware, a pairing several outlets described as deliberately incongruous against the coastal setting. Gerber carries a version of the Pinch bag, Burton’s debut handbag design for the house, shaped from natural-grained box leather with gold-finished hinge hardware that gives the bag its name and its trapezoidal, east-west sil; she is also styled in oversized optical frames and mask-like sunglasses. Debré, the campaign’s non-model presence, wears Burton’s precise, mannish tailoring, a direct line back to the suiting that anchored large stretches of the March runway show.
Beyond the individual looks, the campaign surfaces several pieces central to the Fall Winter 2026 collection more broadly: a white shirt reworked in calf leather, reinterpreting one of the house’s long-running codes through a change in material; draped and textured evening dresses that push toward a softer register than Burton’s tailoring; and embroidered, shredded and fringed floral details worked into the season’s eveningwear. Accessories throughout the campaign run toward exaggerated shapes and scale, with bags, eyewear, boots and jewelry all pitched a size or two beyond expected proportions, adding a kind of controlled excess to looks that are otherwise built on precision. None of the headwear from the runway show, designed in collaboration with British milliner Stephen Jones, appears to have carried over into the campaign images circulating so far, which stay closer to accessories and outerwear than to the show’s more sculptural styling.
scope
The shift to Teller is itself part of the story. Burton’s first three campaigns as Givenchy’s creative director, covering her debut Fall 2025 collection, her Spring Summer 2026 collection and the brand’s Winter 2025 campaign, were all shot by Collier Schorr in a candid, largely unposed studio style built around close, intimate portraiture. This is the first Givenchy women’s campaign under Burton shot on location, and the first not credited to Schorr, marking a genuine format change rather than a one-off detour.
It is also not Teller’s first assignment for the house. In June 2026, he photographed Burton’s debut menswear campaign for Givenchy’s Spring Summer 2027 collection, a project shot in London that featured photojournalist Sir Don McCullin, filmmaker and DJ Don Letts, and painter Danny Fox, each wearing pieces they had personally selected from the collection rather than being dressed by a stylist. Burton has described that process as resembling old-fashioned couture fittings more than a conventional campaign shoot, telling the press she wanted the menswear cast to reflect several distinct, multigenerational versions of what a man could be rather than a single archetype. She has said McCullin’s war photography shaped how she saw the world growing up, that she later brought him in to document backstage moments during her years at Alexander McQueen, and that Letts represented a specifically London strain of punk energy she wanted the campaign to carry. With Teller now behind both the men’s and women’s cameras, Givenchy’s two divisions are working from a more unified view lang than they had under Burton’s first year at the house, when Schorr handled women’s imagery and menswear had not yet had a campaign of its own.
third
The Croatia campaign draws directly from Burton’s third womenswear collection for Givenchy, shown in Paris on March 6, 2026. The show was staged inside a purpose-built white structure at Les Invalides, the complex that also houses Napoleon’s tomb, with a winding runway path built like a giant zoetrope so that each model was gradually revealed rather than walking a straight line toward the audience. Across 56 looks, Burton mixed menswear fabrics with velvet, animal prints, kimono silks, lace and silver bullion, pulling references from Old Master paintings, Art Deco imagery and classical portraiture rather than working from a single fixed theme. The show drew a standing ovation and was widely described in the trade press as her strongest outing at the house to date.
Two personal details ran through the collection. Burton included a decaying kimono she had bought for herself when she first arrived in Paris to take the Givenchy job in 2024, and a yellow jacquard fabric she pulled from Givenchy’s own archive, specifically from a collection made during Alexander McQueen’s own tenure as the house’s creative director between 1996 and 2001. The show also revived, in modified form, a jeweled top from Burton’s earlier Givenchy collections, the same piece Jenna Ortega wore to the 2025 Emmy Awards. The Pinch bag Gerber carries in the Croatia campaign traces back to that same debut season, when it launched alongside Burton’s first collection as the first entirely new bag design of her tenure.
Burton arrived at Givenchy already one of the more decorated names in British fashion. She was named the British Fashion Council’s Designer of the Year in 2011, the same year she designed Catherine Middleton’s wedding dress for her marriage to Prince William, and was later appointed an OBE for services to the fashion industry. Her Givenchy tenure has already produced its own share of red carpet moments: Timothée Chalamet wore a yellow Givenchy suit to the Academy Awards shortly after Burton’s debut collection showed, and Kaia Gerber, who appears in the Croatia campaign, hosted the pre-Oscars Vanity Fair party earlier this year in a bare, drop-waisted Givenchy gown, extending her visibility for the house well beyond the runway and the campaigns she has walked in.
hum
Givenchy was founded in 1952 by Hubert de Givenchy, and Burton is the eighth designer to hold the creative director title since then, and only the second woman, after Clare Waight Keller led the house from 2017 to 2020. The role has changed hands often: Alexander McQueen ran the house from 1996 to 2001, Riccardo Tisci held it for twelve years afterward and left in 2017 to widespread industry attention, with the house publicly thanking him for his vision and photographer Mert Alas among those who paid tribute to their long working relationship. Waight Keller followed him, and Matthew Williams occupied the position from 2021 into early 2024 before departing and leaving the role vacant for several months ahead of Burton’s arrival.
Burton’s own path to the job runs directly through McQueen. She joined his own label, Alexander McQueen, in 1997, while its founder was still splitting his time between his own house and his post at Givenchy, and spent the next 26 years there, the final 13 as creative director following McQueen’s death in 2010. She left Alexander McQueen in 2023 and was named Givenchy’s creative director in September 2024, taking over a house her mentor had led a generation earlier. Her debut Fall Winter 2025 show, staged that March at Givenchy’s Avenue George V headquarters, was teased with an image of a brown-paper parcel containing couture patterns discovered hidden inside the walls of Hubert de Givenchy’s original studio during a renovation, patterns dating back to his first 1952 collection. Burton has now completed three womenswear seasons and one menswear collection at the house, and the granite coast of Croatia is where that body of work has landed this winter.
