Thom Browne Fall 2026 Ad Campaign

Sweater Together

Review of Thom Browne Fall 2026 Ad Campaign by Photographer/Director Robbie Lawrence with models Arthur del Beato

Thom Browne heads for the Scottish Highlands for Fall 2026, trading the theatrical precision that often defines the brand’s imagery for something quieter, earthier, and more intimate. Photographed by Robbie Lawrence in and around Birnam, Scotland, the campaign gathers locals and friends amid rolling meadows, dark lochs, weathered stone, and brooding skies. Titled “Homeward,” the story finds an apt setting for a collection deeply indebted to Scottish textile traditions, allowing landscape, clothing, and craft to feel like parts of the same history.

Lawrence approaches the setting with a romanticism that stops just short of nostalgia. Figures lie almost swallowed by vast stretches of grass, wade barefoot into a loch carrying a small boat, or sit bundled together against moss-covered stone. Grainy black-and-white portraits punctuate the cinematic landscapes, while flashes of fading daylight give the color images a painterly melancholy. The photography feels observed rather than staged, even when the unmistakable codes of Thom Browne – striped socks, ties, precise tailoring – make their presence known.

The collection is particularly at home here. Fair Isle, cable knits, jacquards, tartans, tweeds, and heavy layers draw on centuries of Scottish textile craft, while Browne’s familiar red, white, and navy striping gives these traditions his own graphic signature. The campaign smartly emphasizes texture: chunky sweaters are piled over one another, scarves wrap almost excessively around bodies, and tailoring emerges beneath knitwear as if its wearers dressed intuitively against unpredictable weather. Browne’s longstanding relationship with Scottish manufacturing, including his registered grey and navy tartan with Lochcarron, gives the setting more substance than the typical fashion pilgrimage to the Highlands.

There is also an appealing tension between Browne’s rigorous uniformity and Lawrence’s romantic naturalism. The designer’s clothes often suggest systems, rules, and ritual; here those codes loosen against an unruly landscape. School uniforms become something closer to folk costume, while the repeated ties, stripes, and cropped trousers lend the cast the feeling of an eccentric little clan. The strongest images allow that tension to remain unresolved, suggesting a narrative without spelling one out. Who these people are, where they have been, and why they are dragging a boat into dark water are left pleasantly unexplained.

“Homeward” ultimately makes its case through atmosphere rather than spectacle. By returning the collection’s materials and motifs to a landscape connected to their making, Thom Browne finds warmth inside its famously disciplined wardrobe. Home, it seems, is where the knits are.