Michael Kors Fall 2025 Ad Campaign

Review of Michael Kors Fall 2025 Ad Campaign by Photographer Lachlan Bailey and Director Samuel Rixon with models Suki Waterhouse and Logan Lerman

Michael Kors’s Fall 2025 campaign finds its leading duo, Suki Waterhouse and Logan Lerman, embodying the brand’s familiar formula of jetset glamour, but with an intriguing twist—this time, it feels less staged and more lived-in. Photographed by Lachlan Bailey across Rome’s iconic landmarks, the campaign revels in cinematic allure, yet there’s a hint of grit in the edges, a sense of personality creeping into the polish. Rome, with its heady mix of grandeur and grit, becomes the perfect foil: Kors’s polished silhouettes against a city that has always thrived on imperfection.

The imagery captures vignettes of daily life elevated into fashion fantasy. Lerman strolls past the Colosseum in camel wool and denim, exuding classic movie-star restraint, while Waterhouse lounges in a hotel robe, sunglasses on, a breakfast plate and bellini half-finished beside her. It’s an image that particularly stands out—less glossy, more human, even indulgently messy. It’s the morning-after tableau Gen Z might recognize from their feeds: a little hungover, still glamorous, unapologetically themselves. This detail gives the campaign an unexpected edge, a break from Kors’s usual sheen of constant motion.

The video component sharpens this feeling, with Waterhouse twirling through her suite, rocking out to Don Henley’s “All She Wants to Do Is Dance”—a track she re-recorded for the occasion—before hopping onto a motorcycle and disappearing into the Roman streets. The sequence taps directly into the “rockstar girlfriend” aesthetic that’s been circulating on TikTok, a savvy nod to cultural currency. In contrast, Lerman’s feature leans into introspection, showing him rehearsing lines before stepping into his role, grounding the campaign in a quieter energy. The juxtaposition works: she burns with unruly edge, he holds the flame steady.

Kors’s “Hotel Stories” series also continues, this season spotlighting Rome’s Grand Hotel Plaza. Long favored by filmmakers, the Plaza’s cinematic history makes it an apt anchor for this installment. If Kors’s fashion has always thrived on the fantasy of travel, here the narrative gains more texture—rooms that look actually lived in, streets bustling with unvarnished Roman life, and talent that feels plugged into the now. Lerman’s casting, especially, feels timely with his new film Oh, Hi in theaters, adding a layer of cultural relevance beyond the clothes.

What emerges is a campaign that feels both classic Kors and subtly refreshed. It stays faithful to the brand’s signature jetset vocabulary, yet injects personality where gloss once reigned. If past Kors campaigns have sometimes felt like carefully staged postcards, Fall 2025 reads more like a candid travel diary—albeit one with enviable styling and a very good lighting team.

Sometimes, all a Kors campaign wants to do is dance—and this one finally lets itself.