Article Summary: The Givenchy Fall 2026 campaign leaves the studio for the first time under Sarah Burton. Juergen Teller shot Eva Herzigova and Liu Wen on the Adriatic coastline at Makarska, replacing the portrait format Collier Schorr built across three seasons. Here is what the change of photographer actually signals.
Sarah Burton has spent her tenure at Givenchy photographing women against blank studio walls. Three campaigns, one photographer, one format. Then she put two of them on a rock in the Adriatic and hired somebody else entirely.
The Givenchy Fall 2026 campaign moves to Makarska, on Croatia’s Dalmatian coast, with Juergen Teller behind the camera. Eva Herzigova and Liu Wen appear in the images. It marks a shift for creative director Sarah Burton, whose previous women’s campaigns used studio portraiture by Collier Schorr.
What Is the Givenchy Fall 2026 Campaign?
A location shoot, which is the first thing worth noticing. Everything Burton has released for womenswear until now has been shot indoors, against neutral backgrounds.
The setting is specific. Makarska sits on the Dalmatian coast between the Biokovo mountains and the Adriatic, and it delivers hard white light, bare rock and very saturated water.
Teller’s approach suits that. He works with direct flash and unflattering honesty, and the results read as documentary rather than fashion.
Two models anchor it. Eva Herzigova, now 53, and Liu Wen, 38, have both appeared repeatedly under Burton — which makes the change of photographer, not the change of cast, the actual news.
Notably, the images have drawn a split reaction. Some readers welcomed the absence of heavy retouching; others found the styling too plain for the talent involved.
Burton Has Changed Photographers
This is the substantive shift. Collier Schorr shot Burton’s Fall 2025, Resort 2026 and Summer 2026 campaigns in an unbroken run.
That work built a recognizable format. Schorr’s images were candid, close and largely unposed, catching subjects mid-laugh or knowingly staged.
Teller arrived first for menswear. WWD reported his debut Givenchy men’s campaign in June, shot in London with photographer Don McCullin, filmmaker Don Letts and painter Danny Fox.
Burton described the process there as unusually collaborative. “It was very much like an old couture or bespoke way of working,” she said, explaining that she let the campaign faces choose their own looks.
Offering him women’s wear as well strengthens the house’s image under one eye. Consequently, Givenchy Fall Winter 2026 is the first season in which both halves of the business share a visual language.
The Portrait Series, and What Came Before
Burton joined Givenchy as creative director in late 2024, and her campaign strategy has been unusually consistent since.
Her first, in 2025, cast Kaia Gerber under the direction of Halina Reijn, the filmmaker behind Babygirl. The premise was the female gaze, with the director appearing in the frame herself.
The Givenchy Portrait Series followed. Fall 2025 assembled Adut Akech, Vittoria Ceretti, Nyaduola Gabriel, Herzigova, Emeline Hoareau and Liu Wen — alongside stylist Camilla Nickerson and makeup artist Lucia Pieroni, both drawn from Burton’s own team.
Resort 2026 narrowed to two. Rooney Mara and Paul Simonon starred in “Friends and Muses,” with Burton noting that her friends often become her muses.
Summer 2026 went further still. WWD reported that Annie Leibovitz, then 76, moved in front of the lens, joined by sculptor Isabelle Albuquerque and models Selena Forrest and Liu Wen.
The through-line is professions rather than faces. Burton has cast photographers, stylists, makeup artists and sculptors, which is a deliberate argument about who the house dresses — the same territory Vittoria Ceretti’s campaign run has occupied this year.
Why Croatia
Location is doing work that a studio cannot. A blank wall isolates a garment; a coastline places it in a life.
The Adriatic also solves a seasonal problem. Fall/winter collections photograph badly in summer studios, whereas harsh coastal light gives heavy tailoring a reason to exist on camera.
Cost is a factor too. Croatia has become a favored production base for European fashion and film, offering Mediterranean landscape at considerably lower rates than Italy or the South of France.
Teller has form on that coastline. His work has long used bright, unglamorous holiday settings to strip the gloss from luxury imagery.
Meanwhile, the timing sits neatly before the September shows. Burton presents her next collection during Paris Fashion Week, and a location campaign is a useful reset ahead of it — as any guide to the Paris schedule makes clear.
What Comes Next
Paris is the next date. Burton has already taken the WWD Honor for Womenswear Designer of the Year, so expectations for the show are correspondingly high.
Watch whether Teller stays. If he shoots the spring campaign as well, the Schorr era will be over, and Givenchy will have a new house photographer.
Watch the cast too. Burton has built her image-making on multigenerational casting, and whether Croatia keeps that principle or narrows it will say a great deal about where the house is heading. Follow the houses and campaigns shaping the season with our fashion designers’ coverage at Runway Magazine.
