Dior Fall 2025 Ad Campaign

Review of Dior Fall 2025 Ad Campaign by Photographer Tim Walker with models Achol Kuir, Ebba Bostrom, Huijia Chen, Laura Savy, Peris Adolwi

Dior’s Fall 2025 campaign marks a deliberate turn inward—toward depth, distortion, and emotional abstraction. Shot by Tim Walker, the campaign introduces a new visual lexicon for the house: one rooted less in theatrical staging and more in perception itself. Under the continued creative direction of Maria Grazia Chiuri, the campaign opts for conceptual surrealism over conventional elegance—a shift that reflects not only the themes of the Fall 2025 collection but also a broader reorientation of Dior’s brand storytelling ahead of Jonathan Anderson’s arrival.

It is, notably, the camera’s altered gaze that signals the evolution. The use of a fisheye lens—uncharacteristic for the house—bends space and scale, placing the viewer in a world where proportion, posture, and presence are subtly unsettled. This is a departure from Dior’s prior campaigns, where traditional framing and lavish sets served as metaphors for femininity. Here, form is fragmented, angles distort, and narrative emerges through compression rather than expansion. The shift in medium becomes the message: a visual commentary on perception, power, and the often-unseen labor of identity formation.

What makes this campaign compelling is how these formal decisions reinforce the emotional and ideological scaffolding of the Fall 2025 collection itself. The collection—steeped in contradictions between romance and resistance, utility and softness—finds its echo in these images. Rather than illustrating the clothes, the campaign interprets them. There is an artful economy at play, a visual austerity that insists on interpretation over immediacy. It’s a more editorial approach than we’ve seen from Dior’s past campaign cycles—less posed than poised, and more curious in its pacing.

While some loyalists may note that Dior’s femininity has always carried a poetic register, this particular campaign adds the dimension of editorial reflexivity, situating the brand within a contemporary dialogue around image-making itself. This is not merely a campaign, but a mood board for the brand’s next chapter—a glimpse into how Dior may articulate power, ambiguity, and modernity in tandem. With the subtle disruption of perspective, Chiuri doesn’t just present another iteration of Dior’s codes; she deconstructs them, asking us to see anew.

It’s not a pivot made loudly—but it doesn’t have to be. With the arrival of Jonathan Anderson on the horizon, the campaign feels like a soft reset: artful, referential, and strategically unresolved. Dior invites its viewer not to look at the woman in the image, but through her—a subtle but meaningful shift in the architecture of desire.