Burberry Fall 2025 Ad Campaign

Review of Burberry Fall 2025 Ad Campaign by Art Director Lane & Associates and Photographer Sam Rock with models Rupert Everett, Luther Ford, Jeny Howorth, Lina Zhang, Assa Baradji, Tristan Watkins, Leon Keenan, and Iris Lasnet

Burberry’s Fall 2025 campaign, photographed by Sam Rock under the creative direction of Daniel Lee, takes us deep into the gilded interiors and lush grounds of Wolterton Hall. It’s an apt setting for a collection that revels in the tension between heritage and reinvention: velvet damasks that echo William Morris, shredded viscose raincoats, quilted jackets rendered in geranium florals, and jodhpur trousers paired with Savile Row tailoring. In typical Lee fashion, the pieces feel both rooted and restless, pulling history into the present with a wink.

The campaign cast underscores this duality. British actor Rupert Everett and model-artist Jeny Howorth bring gravitas, while Luther Ford—fresh from The Crown—and new face Iris Lasnet inject a generational shift. Alongside models like Lina Zhang and Assa Baradji, the portraits oscillate between aristocratic poise and disarming eccentricity. Ducks on staircases, velvet suits mid-leap, a horse looming in black-and-white: it’s part English eccentricity, part Gothic romance, with plenty of irreverence folded into the brocade.

Visually, the textures do much of the storytelling. We see embossed leathers gleam like carved furniture, cross-stitched knits evoke tapestries, and coats swell with volume as though lifted from equestrian portraits. The collection’s palette—tapestry browns, deer taupes, punk reds, and maze greens—ties it all together in painterly fashion. Yet for all the richness of fabric and setting, the campaign occasionally falters in motion. While eclectic and eye-catching, the poses lean toward the static. Lee’s stated intention was to “bring the collection to life,” but at times the life seems confined to the upholstery, the wallpaper, or the horse’s mane rather than the models themselves.

That said, there is wit here, and a sense of fun that prevents the campaign from veering into the overly reverent. By letting velvet-clad models sprawl on floral sofas or pose defiantly beneath ancestral portraits, Lee makes heritage strange again—a costume drama with the volume turned up and a few pages missing. It’s a reminder that Burberry under his watch is as much about texture and eccentricity as it is about trench coats and tartans.

Ultimately, the campaign succeeds as a feast of fabrics and atmospheres, even if the human presence feels more ornamental than animated. Burberry is telling us it knows its history, but isn’t afraid to scuff it up on the drawing-room floor. Still, one hopes that in the next chapter, those grand interiors will play backdrop to even grander gestures. After all, English eccentricity thrives not just in what you wear, but how you move in it.