Since its inception, Jacquemus has committed itself to giving the world the ultimate vacation-ready wardrobe. But this time around, to film its latest ‘La Croisière’ collection, the French brand packed its bags (and everything else) and landed on the shores of Egypt. The Spring 2025 collection first debuted in Paris this January, but for the campaign, Jacquemus decided to take it beyond the typical glossy studio setting. Instead, the pieces were brought to life amid Egypt’s dramatic mix of ancient grandeur and organic modernity.
It was a 24-hour fashion voyage, stretching from Cairo to Aswan, anchored by creative direction from Egyptian photographer and filmmaker Mohamed Sherif. Sherif’s eye brought a raw, grounded beauty to the campaign, trading over-produced gloss for something more intimate, more real. It was a fresh step for a brand that knows how to pairminimalism with impact.
Brazilian-New Zealand model Angelina Kendall and Egyptian model Mohamed Hassan carried the story in visuals. The styling was stripped back, but not dull—there were no over-the-top theatrics, just the power of well-cut clothing meeting cinematic light and land.
When it comes to editorial campaigns, Jacquemus has got the world expecting the unexpected with a creative past steeped in surrealism. This time, however, the brand isn’t leaning on loud branding or gimmicks. The collection speaks through its tailoring and tension. There are double-breasted blazers with exaggerated structure, high-waisted barrel trousers, and flared midi dresses. A polka-dot coat with a sweeping train, a red column dress with clean lines, and even a sculptural banana-print two-piece all prove that drama doesn’t need volume. Accessories held their own without shouting. Cubisto mules and golden clutches (like the compact yet striking Salon bag) played a supporting role, grounding the looks in Jacquemus’ refined but playful identity.
This campaign marked a shift for Jacquemus—one that distances the brand from loud resort clichés and moves toward something more enduring. The tones are neutral, the styling is unfussy, and the energy is timeless. That’s where Sherif’s visual direction made the difference by focusing on mood rather than spectacle; the result feels less like a marketing push and more like an artful pause in motion.
