Jacquemus takes on Egypt: a chic mirage with Angelina Kendall
From the Egyptian desert to the banks of the Nile, Jacquemus orchestrates a radical change of scenery for its new campaign. On screen: Angelina Kendall, graceful silhouette, guided by the scorching winds of the Valley of the Kings. Behind the lens: Mohamed Sherif, an Egyptian photographer whose eye embraces the mystical architecture of his native land.
A cruise in chiaroscuro
Jacquemus’ spring-summer 2025 collection, entitled La Croisière, finds its natural extension between Cairo and Aswan. In the shots, Angelina Kendall – already revealed in Paris in January at the private show in Auguste Perret’s apartment – seems to float in the scenery, as if torn from reality. Alongside her, model Mohamed Hassan, another strong face of this campaign, embodies the local and poetic anchoring.
This fictional duo crosses palm groves, felucca sailboats, scorching dunes and millennia-old stones, in a staging that evokes escapism rather than simple luxury. The wind lifts the silhouettes, the clothes interact with the sand: everything is movement, suggestion and sensuality.
When clothing becomes a story
The pieces chosen – the banana-print ensemble (look 20), the black (look 8) and red (look 39) dresses, and the polka-dot outfit (look 28) – play on an aesthetic of contrast. Each scene evokes a suspended moment, a dreamy postcard where clothes become the link between two worlds: that of the Western imagination, and that of an Egypt revisited by the fashion lens.
The campaign skilfully avoids tourist clichés. Jacquemus doesn’t show Egypt, he suggests it. He brushes up against it like a mirage we can’t possess, in an approach that’s more contemplative than appropriative.
A picture, a thousand readings
This campaign is part of a visual storytelling strategy dear to Simon Porte Jacquemus. By choosing Egypt, the designer continues to explore notions of territory, purity and desire. An increasingly scripted universe, seductive in its coherence as much as in its evocative power.
Also read: Jonathan Anderson at Dior: what the choice really means
