For the Ermanno Scervino Fall 2025 ad campaign, Natalia Vodianova is caught in an authentic moment with 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.