Givenchy has left the clean studio behind for its latest campaign, taking Kaia Gerber and a strong cast of women to the rocky coast of Croatia. Shot by famed German photographer Juergen Teller, the Winter 2026 campaign puts Sarah Burton's colourful, sharply cut clothes against stone, sea and bright natural light.
Released on 27 August 2026, the images mark a clear visual shift from several of Burton's recent Givenchy campaigns, which Collier Schorr photographed in more controlled settings. This time, the rough Croatian landscape becomes part of the story, giving the luxury clothes a less polished and more immediate feel.
Kaia Gerber Takes Givenchy Into the Wild
Gerber is joined by Eva Herzigova, Liu Wen, Nyaduola Gabriel and French writer and former lawyer Constance Debré. Givenchy describes the group as part of Burton's wider creative 'family', saying the women have also taken part in fittings and helped create the energy around the Fall-Winter 2026 runway show.
Kaia Gerber fronts the Givenchy FW26 campaign, shot on location in Croatia, is proof that on-location campaigns will never go out of style. The scenery, the atmosphere, the photography—perfection
— hionfashion (@hionfashion) August 27, 2026
Photographed by Juergen Teller pic.twitter.com/pHLIlDjtyA
In Gerber's images, the model is seen among pale rocks wearing some of the season's most striking pieces. One photograph shows her in a cut-out black bodysuit with dramatic flower-covered boots, while another places her flat against the stones in a bright yellow look, turning the natural setting into an almost accidental runway.
The contrast is key to the campaign. Rather than placing the clothes inside a grand house or against a smooth studio wall, Teller photographs them against what Givenchy calls a landscape of 'steely granite', letting hard surfaces, sunlight and the models themselves shape each frame.
Juergen Teller Gives Givenchy a Rougher Edge
Teller is known for fashion photography that can look direct, casual and even imperfect when compared with heavily edited luxury campaigns. That approach is easy to see here, where the women appear outdoors with simple poses and little of the glossy staging often linked with major fashion advertising.
The official campaign credits list Teller as photographer, Camilla Nickerson as stylist, Jess Hallett in casting, Daniel Sällström on make-up, Kei Terada on hair and Ama Quashie on nails. Sarah Burton led the campaign direction, while M/M handled campaign creative direction.
Fashion publication PAUSE described the campaign as a 'refreshingly raw' take on Burton's Givenchy, noting how the rocks, water and relatively stripped-back beauty styling give the photographs an almost spontaneous feeling. Models.com also confirms Teller, Burton, Gerber and the wider cast in the official FW26 campaign credits.
Sarah Burton Keeps the Focus on Women
For Burton, however, the setting is not meant to overpower the people in the photographs. She said there is a 'directness' about the women that shows their personality and strength, adding that her work at Givenchy is centred on recognising the 'reality' and 'brilliance' of different kinds of women.
That message also follows the ideas behind Burton's Fall-Winter 2026 runway collection, shown in Paris on 6 March. Givenchy described the collection as an exploration of women's strength, moving between strict tailoring, free draping, sculptural shapes and dramatic evening clothes.
ELLE noted at the time that Burton's third Givenchy collection was especially expressive, with strong colour, texture and decoration. Those same ideas now appear outdoors in Croatia, where the collection's bright shades and detailed accessories stand out sharply against the grey stone.
The Unique Croatia Setting
Luxury campaigns have spent years moving between highly controlled studio images and large location shoots, but Givenchy's latest photographs show how much a real landscape can change the mood of a collection. The stone and coastline make Burton's polished clothing look less distant, while Teller's photography avoids turning Croatia into a glossy travel postcard.
The choice also makes the campaign easy to recognise. Bright yellow fabric, black tailoring and oversized floral details sit against pale rock and blue water, creating images that are very different from the plain backgrounds seen in Burton's earlier portrait-led Givenchy campaigns.
For Gerber, the campaign is less about simply modelling a new season and more about becoming part of Burton's larger group of Givenchy women. For the house, it signals a willingness to take that growing identity outside the studio and place it somewhere far less controlled.
