Versace Greca Fall 2025 Ad Campaign

Review of Versace Fall 2025 Ad Campaign by Creative Director Dario Vitale with Photographer Anuschka Blommers and Niels Schumm with Talent Joseph Quinn, Aimee Lou Wood, Josh Caffé, Ouri, Wesley Glouchkov, Giovanni Luciano

Versace’s latest Greca campaign enters with measured poise, letting subtlety take the lead—an elegant act of restraint from a house often known for its maximalist bravado. Under the creative direction of Dario Vitale and lens of photographic duo Anuschka Blommers and Niels Schumm, the campaign transforms a humble highway motel room—aptly titled Room Six—into a cinematic mise-en-scène. Scripted by British director Luna Carmoon, the set becomes a quiet stage where suggestion replaces spectacle, and the emotional landscapes of its cast take center stage.

The imagery is disarmingly simple: portraits, not performances. Characters are captured in moments that feel suspended between thought and impulse, their expressions oscillating between rawness and poise. British actor Joseph Quinn brings a quiet volatility; Aimee Lou Wood exudes a fragile wit; Josh Caffé radiates cool, understated defiance. Alongside them, South American composer Ouri, Texan bodybuilder Wesley Glouchkov, and New York line cook Giovanni Luciano lend a lived-in texture that resists artifice. Each figure wears the brand’s Greca frames—classic and geometric, their clean lines a grounding counterpoint to the characters’ interior worlds.

What makes this campaign sing is its refusal to shout. Versace leans into introspection rather than overt glamour, using stillness as its strongest tool. The portraits are composed with painterly restraint—an almost archival quality—letting the sitters’ individuality do the heavy lifting. Blommers and Schumm’s photographic language has long danced on the line between fashion and art, and here, that balance feels particularly assured: no theatrical tricks, no crowded symbolism, just distilled, elegant observation.

Of course, simplicity walks a fine line. While the minimalism here is intentional, it risks leaving some viewers craving a touch more narrative propulsion. The motel room—though clever in its conceptual modesty—never quite evolves beyond backdrop. One almost wishes for a moment of rupture, a tiny spark of chaos to mirror the cast’s contradictions more dynamically. Yet, perhaps that’s the point: Versace doesn’t hand us a story. It hands us a room, a gaze, and the space to wonder.

The campaign’s strength lies in its casting—a rich tapestry of disciplines and identities—and its ability to let them speak softly but clearly. Luna Carmoon’s subtle directorial hand ensures that each sitter occupies their own orbit without colliding into another. The result is a quiet chorus rather than a solo act, echoing the Greca motif’s disciplined geometry: singular forms arranged in harmonious rhythm.

In a fashion landscape increasingly addicted to volume—both visual and metaphorical—Versace’s Greca campaign offers a rare and refreshing pause. It’s a reminder that sometimes the loudest thing in the room is the silence itself. And in Room Six, that silence is exquisitely well dressed.