Body Language Gets Physical

Summer at high fashion isn’t a breeze — it’s the reality of heat against silk, leather warming under direct sun, makeup threatening to slip by noon. It’s the gloss of skin that isn’t entirely cosmetic. The Spring/Summer 2026 campaign, shot by Talia Chetrit, leans into that truth: hair looks damp, light is unforgiving, leather presses close, absorbing warmth. You can almost feel the temperature rising off the frame. Under new creative directors Jack McCollough and Lazaro Hernandez, the image of the house shifts in temperature and tempo. This is not escapist summer; it’s embodied summer. A visual language rooted in physical presence takes shape as sweat, structure, and sensuality coexist. And this time, the optimism shows up flushed and a little out of breath. If only sweating could look this good.

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The campaign trades surreal interiority for exposure. Broad daylight flattens nothing; instead, it sharpens everything. Texture leaps forward. The heat-sealed leather jacket reads sculptural and almost anatomical, its structure contouring rather than dominating the torso beneath it. Shredded leather jeans feel less distressed and more deliberate, their tactility amplified by proximity to skin. 

There is a recurring sensation of wetness. A kind of humidity — sea air suggested in the sheen of limbs, the suggestion of water pooling at the collarbone, the faint gloss of leather catching sun. It gives the images a taut sultriness. 

One image isolates a model in a sleek black leather top, droplets visible on her arm, gaze steady. The garment doesn’t interrupt her. It traces her. Another captures a striped, fluid dress caught mid-motion, bands of color stretching and bending as if the body were directing the fabric’s rhythm. A red knit slips upward to reveal the side of a torso — neither coy nor aggressive.

Even the accessories participate in this physical dialogue. The slouchy one-handle Amazona 180 rests low, near the thigh and hip, its curve echoing anatomy rather than competing with it. Glossy aqua shoes paired with contrasting socks read mischievous, almost athletic, but styled with an awareness that borders on sensual. The materiality is unmistakable. Leather looks like leather. Knit looks weighty. Nothing pretends to be lighter than it is.

There is modernist framing in the backgrounds — terraces, faint cityscapes, structural lines barely visible — but they recede. Architecture supports; the body leads. After a decade of cerebral cleverness dominating fashion’s visual codes, this campaign chooses tactility over trickery.

McCollough and Hernandez describe building a language as confident, playful, and sun-drenched. That language manifests not in slogans but in surface. The vibrancy is Mediterranean without cliché. Sensuality is present but disciplined. It is structured by craft. That craft remains central: heat-sealed seams, sculptural leather jackets, multilayer dresses that fall fluidly but hold form — all remind us that physicality without construction is simply exposure. The body may be front and center, but it is framed by exactness.

If this is the opening gesture of their tenure, it clarifies the direction immediately. The emphasis shifts from surreal narrative to physical immediacy. Sensation replaces spectacle. Rather than constructing fantasy worlds, they focus on proximity — how leather molds to the torso, how knit stretches across ribs, how sunlight sharpens the outline of a shoulder.

The clothes don’t overpower the body; they contour it, trace it, move with it. Broad daylight eliminates illusion and forces material to stand on its own merit. Craft is visible. Texture is legible. What emerges is a mood charged with vitality. Body language is a method, and you should be listening.

Photographed by TALIA CHETRIT

Photos courtesy of LOEWE