Dolce & Gabbana Fall 2025 Ad Campaign

Review of Dolce & Gabbana Fall 2025 Ad Campaign by Creative Director Fabien Baron with Photographer Steven Meisel and models Mona Tougaard, Vittoria Ceretti

In a cinematic descent into nocturnal hedonism, Dolce & Gabbana’s Fall 2025 campaign delivers a sultry slice of shadowed glamour, oiled sidewalks, and nightclub voyeurism – with enough high-shine sequins and buckled leather to remind us that the house never lost its appetite for drama. Directed by Fabien Baron and lensed by Steven Meisel, the campaign trades theatrical maximalism for something moodier, sweat-slicked, and ferociously carnal.

The cast, which includes Mona Tougaard and Vittoria Ceretti, is caught mid-movement: lit by the spill of headlights and the glow of distant disco balls. These are not posed portraits, but cinematic stills – vignettes of wet hair, stomping boots, and half-lidded eyes that conjure the feel of morning-after memories. Karl Templer’s styling leans into house codes with slick precision: metal mesh, crystal-encrusted minis, lingerie-as-outerwear, and robust moto boots that double as armor. There’s a physicality to it all, Pat McGrath’s dewy skin and Guido Palau’s damp, tousled hair suggest bodies in motion, breath on necks, basslines thrumming through skin.

Fabien Baron, in his dual role as director and art director, ensures the world feels cohesive, claustrophobic even. Figures blur in the background, anonymous and watchful, while the leads swerve between sultry detachment and provocation. The result is a campaign that reads like a short film without dialogue. It trades narrative for pulse. Tension replaces plot. And what emerges is a hauntingly beautiful vision of nightlife – part Scorsese, part Helmut Newton, part ‘90s Italian gloss.

In a world where many houses are leaning into quiet luxury or softened narratives, Dolce & Gabbana doubles down on nocturnal indulgence, hyper-styled sensuality, and theatrical grit. The Fall 2025 campaign doesn’t ask to be liked—it demands to be watched, again and again, like a favorite scene from a forgotten foreign film. Call it disco noir. Call it glamour in the gutter. Either way, it’s unmistakably Dolce.