Interaction has always existed in fashion and beauty, but in 2025, it no longer looks like a gimmick or a passing tech experiment. Instead, it has matured to something closer to a cultural language. Brands are no longer satisfied with being seen or worn; they want to be entered, played with, and experienced. What’s emerging is not interactivity as a feature, but interaction as a form of creative expression.
This shift reflects a broader change in how audiences relate to luxury. Campaigns, no matter how visually striking, now compete with digital worlds, gaming culture, and immersive entertainment. Fashion and beauty brands are building spaces in which consumers don’t just observe the brand narrative, they participate in it.
A clear example of this evolution came from Miu Miu. With “BECOME A MIU-VIE STAR”, the brand stepped beyond the boundaries of a conventional and into the logic of a game. Rather than positioning the audience as passive viewers, Miu Miu invited them to navigate a full cinematic world with the brand’s distinct aesthetic. The experience felt less like marketing, and more like leisure.
What made the project resonate wasn’t just its novelty, but its understanding of how younger audiences interact. For Gen-Z, play is not separate from identity; it is a way of exploring self expression, and belonging. By leaning into gamification, Miu Miu translated its brand into a format that felt intuitive rather than forced.
Interaction, however, is not limited to screens. Bottega Veneta demonstrated this by reworking one of the world’s most familiar games into a design object. The brand’s leather boxed Jenga set transformed a childhood pastime into a collectible piece that sits somewhere between sculpture, decor, and play. In doing so, Bottega Veneta reframed interaction as something tactile and slow, an experience that unfolds in the physical world rather than the digital one.
The significance of this move lies in its subtlety. The object does not demand attention or explain itself. It invites usage. It suggests that luxury can be touched, rearranged, and momentarily destabilized. Play becomes a way of engaging in work, rather than distracting from it.
Miu Miu’s “BECOME A MIU-VIE STAR” lets audiences step into a cinematic world, turning game mechanics into a playful extension of the brand’s aesthetic.
Bottega Veneta’s leather boxed Jenga set turned a childhood game into a collectible design object, blurring the lines between sculpture, decor, and play.
Not every moment demanded participation, but these works proved luxury could be entered, played with, and experienced. Showing that in 2025, brands were about participation as much as possession.
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