A cast spanning generations stands before Catherine Opie’s lens.
Catherine Opie’s camera meets forty‑two individuals one by one, and the result is striking in its directness. Each frame concentrates on the quiet exchange between cloth and character—the way a tailored coat eases at the shoulder, how a silk scarf settles as a body turns, why a handbag finds its balance against a hip. Opie, long admired for documentary rigor, keeps the setting bare so the relationship between person and garment speaks first.
Art director Riccardo Zanola shapes that conversation with stylist Suzanne Koller, who grounds the Fall Winter 2025 collection in Gucci’s famed sprezzatura, a studied effortlessness that links past and present. Clothing appears collected rather than prescribed, allowing personality to surface through posture, ease, and attitude.
Director Lisa Rovner extends the project into motion. In a series of brief films, cast members answer open‑ended questions about memory and belonging. Their replies feel unscripted—a laugh that breaks, a pause that lingers—and identity gathers in those candid beats.
Still‑life photographer Charles Negre contributes tightly framed vignettes of garments and accessories, lit with a plain clarity that keeps craftsmanship in focus. Lauren Parsons handles makeup with a virtually invisible touch, while Benjamin Muller lets hair fall in lines that echo the clothes’ relaxed geometry. Together, the team underlines what Opie’s portraits insist upon: authenticity is strongest when nothing feels forced.
By repeating a simple portrait format across generations and backgrounds, the campaign underscores difference without hierarchy. The result feels less like marketing than a living archive—evidence that Gucci’s codes remain vivid when claimed by many, not just a few.
