FASHION

Juergen Teller Shoots Sarah Burton’s Givenchy Against the Croatian Coast

by OS Staff August 28, 2026

Givenchy has entered a softer, rawer kind of drama under Sarah Burton. Not spectacle for the sake of spectacle, but clothes placed close to the body, close to character, close to the complicated reality of women who do not need to be reduced to one idea.

For Fall/Winter 2026, that vision moves outdoors. The house’s latest campaign, photographed by Juergen Teller, leaves the studio behind for the rocky coast of Croatia, where concrete, water, cliffs, and natural light become the setting for Burton’s new Givenchy world.

The cast brings together familiar faces from Burton’s evolving language at the house: Kaia Gerber, Eva Herzigova, Liu Wen, Nyaduola Gabriel, and Constance Debré. Rather than staging them as distant fashion archetypes, Teller photographs them with his signature directness — stripped back, bare-faced, and almost casually exposed against the landscape.

That rawness matters. In an industry often addicted to polish, this campaign feels deliberately unvarnished. The women appear less like models performing luxury and more like characters caught between fittings, movement, weather, and thought. The Croatian coast becomes not just a location, but a pressure: hard stone, open water, bright air, nothing ornamental enough to hide behind.

The clothes gain force from that simplicity. Burton’s Givenchy is becoming a wardrobe of contrasts: structure and softness, severity and ease, tailoring and sensuality, strength without theatrical aggression. In Teller’s images, the garments do not need elaborate scenery to announce themselves. They are allowed to sit on real bodies, in real light, with enough imperfection around them to feel alive.

There is also a sense of continuity here. The campaign gathers women who have already appeared in Burton’s Givenchy universe, including the FW26 runway and previous campaigns, making this feel less like a one-off seasonal image and more like the slow construction of a community.

That may be the clearest sign of Burton’s direction for the house. Her Givenchy woman is not singular. She is not one fantasy, one face, one body, one mood. She can be young, mature, intellectual, glamorous, severe, bare, elegant, guarded, or completely unbothered. The power lies in refusing to flatten her.