Set in an interior space where every object appears casually placed yet somehow expectant, the Autumn-Winter 2025/26 campaign by Ermanno Scervino, starring Natalia Vodianova, takes shape. The camera does not seek effect, but gaze - it does not merely portray, it questions.

Through the lens of Mikael Jansson, Natalia appears composed, caught in an authentic moment in which she plays no part - she is simply present. Her face, illuminated by a light devoid of flattery, recalls the languid introspection seen in certain cinematic portraits of the 1960s and 70s - a touch of Dominique Sanda, a trace of Romy Schneider.

It is within the silent tension between a woman’s body and the grammar of menswear that the campaign finds its most subtle contrast. Herringbone coats, straight-cut, structured trousers, houndstooth blazers, layered belts, and long gloves seem drawn from an urban, cultured masculine wardrobe.

Yet it is in their encounter with the intimate - slip dresses, bustiers, light knits, or lace-trimmed garter belts - that these garments take on new meaning. They do not become bolder, but more austere, reclaiming an old-world dignity.

The result is never contrived. Natalia’s femininity, already free from affectation, is enhanced by this sartorial architecture. The room in which she moves is not a set - it is an inner space: it hosts, protects, observes.

The entire campaign seems to suggest that there is nothing more seductive than discipline when accompanied by grace. And that every garment, every gesture, can become a form of introspection.