Our latest fashion scorecard features Gill Linton, the founder of Byronesque. Linton spent decades as a brand strategist in the ad industry helping fashion brands and brands that want to be fashionable say something exceptional.

Together, we analyse campaigns using advertising industry methods that determine meaningful brand strategies. We question if campaigns including Chloé, Valentino and Miu Miu promote products worth buying versus buying into. We discuss the importance of a coherent brand strategy, which goes beyond eye-catching visuals. While we still rate campaigns from 1 to 10, a long-form conversation provides context for each campaign score. Part one starts now.

M-C Hill: I look for fashion campaigns to visually communicate desire to their audience, but also a broader audience. Sometimes both align, sometimes they don't. You wanted to get into the strategic logic side. Bringing you into the conversation made more sense because you come from advertising.

Gill Linton: I spent decades in the advertising industry. Many as a brand strategist for fashion brands, helping them figure out what makes them special. The fashion industry still doesn't use brand strategy in the same way traditional advertising and marketing does. The word ‘strategy’ has become as generic as the word luxury. A brand strategy from the traditional advertising world is not a category label. It's not a strategy to be luxury. Strategy isn't an ad. They are tactics. They are the tactics that the brand strategy uses to communicate the strategy. You set up a brand strategy and then determine how to communicate that.

Essentially, brand strategy is what a brand stands for, and if they're smart, what it stands against, beyond what they are trying to sell. There's no right or wrong strategy. There's definitely good and bad. The hardest thing about coming up with a really great brand strategy is sacrifice. When you own a brand, the tendency is to want to communicate everything. The analogy that I always use with people to help them understand is, if I throw 20 tennis balls at you, how many are you likely to catch?

M-C.H: Maybe one. Two if you're dexterous.

G.L: If you're lucky. But if I throw one at you, you're going to catch that and you're going to be able to hold onto it. There's a real difference between throwing multiple messages at someone, versus being focused on what the message is. And that is the essence of a really good brand strategy. Literally fashion houses, built on a foundation of a brand strategy that everything else can build on. If you've got weak foundations, you're f*cked or at best, generic. That is what we see in the fashion industry time and time again.

M-C.H: As fashion has become increasingly corporate-minded over the last 15 years, why do you think that simple understanding disintegrated?

G.L: They never had it. Fashion has never taken this approach. The only fashion brands that do it are the big retailers. They hire traditional advertising agencies who look at it quite differently. The first go-to won't be: our customer is a strong independent woman who mixes fast fashion with designer. Every fashion brand, retail or luxury maison will say the same thing. It's one of the reasons I started Byronesque. I couldn't hear it anymore.

I would literally go from one luxury house to a high street retailer, and they would say exactly the same thing. Their responses were, who are we putting in the ad? That's when we get to logo poker. Another traditional meme of the advertising world is if you can replace one logo with another and not notice the difference, you've got a problem. A good brand strategy as the foundations for a maison should eradicate that problem.

Chloé High Summer Campaign feat. Claudia Schiffer

M-C.H: Usually our rubric is visual fashion communication to assign a rating. We rate campaigns from 0 to 10. For this review, we're looking at what you are buying versus what you are buying into. We will use the visual breadcrumbs to hammer home buying versus buying into. Are the images selling a world you're buying into, a value system or only buying into a product.

G.L: Nothing works in isolation. It's the whole thing. Everything a potential customer comes into contact with should communicate the brand strategy to build on something over time. This is more important when you're switching designers a lot. You're constantly having to rebuild rather than build onto something. And you exponentially build when people are buying into something as opposed to just buying something.

M-C.H: Explain to the audience what good examples of buying into versus buying something are?

G.L: Context is everything. What Calvin Klein created with the whole Kate Moss thing, everything that came after that created a uniform for a generation. Then they sold them a sh*tload of perfume. Helmut Lang, at that time, created another uniform for a generation. The marketing and the point of view that he presented, his perspective on culture, was in service to the products that he was selling.

Chloé High Summer Campaign feat. Claudia Schiffer

M-C.H: This initial conversation started from a Chloé campaign. The Spring Summer 25 campaign with Rianne Van Rompaey. It'd be appropriate to start here. Our rubric is:

G.L: When a brand is in trouble, the brand strategy typically goes to its past. Whether it's a toothpaste brand, a car brand etc, you look back at when it was at its peak. You pick out things that are very unique to them, that worked throughout their history. How do you modernise its DNA? Chloé has gone back and done that. They've looked at when they were strong. They've gone back to their boho roots. It feels very Stella [McCartney], but less rock and roll, more real girl. I think the noughties generation will get it. We remember it very well. I don't know what it's saying to a new generation of customers. I think it says Chloé is feminine. I think the model is taking over the story.

M-C.H: Do you think that's a bad thing?

G.L: It can be. If the messaging is strong enough on its own, would that campaign be just as strong with a model that wasn't famous? Probably would be, actually. The one thing is, you can smell the fragrance in these ads. I wasn't looking at the product. I was getting a feeling about the brand. Which is why I said you can smell the fragrance. Not necessarily a bad thing. That may be the objective because we're in a new era of Chloé. What they're trying to communicate is we are back to what we're good at and why you loved us. I think it's successful.

M-C.H: There's been consistent communication since Chemena [Kamali, Chloé creative director] returned to the house with extreme, not avant, but extreme girlishness. That's the Chloé pull. An otherworldly extreme, innate girlishness. Doesn't matter if you're 70. Doesn't matter if you're 20.

G.L: Yes, absolutely. One of the important things about developing a good brand strategy is cultural relevance. This is like a comfort blanket. Is that a good thing for a fashion brand to be considered a safe, comfortable place? I don't know. But in my opinion, it is aesthetically doing a very good job repositioning how they want people to think about the house.

M-C.H: Also, the usage of Claudia Schiffer here is important for history because she is a longtime friend of the house. She featured largely in the spring '95 collection, which I thought was ironic since it's 30 years on. You don't think of Claudia Schiffer as one of those thoroughbred supermodels, right? You don't think of her as 'THE WOMAN.' You think of her being an approachable, beautiful girl next door. Objectively, this felt quite strong, easily understood. Broderie anglaise which Chloé is known for, features in the runway collection. When Chloé is at its best you are buying into the world of a girl. What do we rate this?

G.L: Look, I was a Chloé girl. I moved from London to New York. It hadn't really hit New York in the same way. People didn't know what the f*ck I was wearing. I was full on the low slung jeans, everything. I'm not that girl anymore. I'm giving it a 6 because I don't know the full picture, but it's still built on imagery alone. Which is still falling into the traditional traps of fashion marketing.

M-C.H: Based on what we've discussed in terms of brand strategy, tactics for what Chemena Kamali used from her very first runway collection into the campaign imagery, there's a consistency here. In terms of consistency, communication and an easily understood message, a strong 7.5.

G.L: Okay, we're not that far off each other. I feel okay about that.

Chloé High Summer 25 Campaign Rating: 6.75/10

The analogy that I always use with people to help them understand is, if I throw 20 tennis balls at you, how many are you likely to catch?

Rabanne High Summer

M-C.H: Let's jump into Rabanne. Rabanne took us to Rio. Julien Dossena does this. He finds these resort locations to reframe his idea of Rabanne. This time he explored favelas to find fashion in real culture. How did the video land for you? How did the communication and strategy tie into all this?

G.L: I didn't know what I was looking at. I don't know what the strategy was. He may have just wanted to do it because it was cool. Rabanne is a certain thing to most people.

M-C.H: Chainmail.

G.L: It's chainmail, right? Probably still stuck in the '60s and '70s for most people. To be hit over the head with this random subculture was a random disconnect. So forget about whether you liked how it was executed or not. We've already said, a brand will go back to the past to find something unique, that no one else can talk about, that acts as inspiration to build on.

When I read the press release, I didn't know that Paco Rabanne started a record label. I would have leaned into that. Not the fact that he started it, why did he? The job of a brand strategist is to constantly ask why, like you're picking a spot.

What was going on culturally? What was he fighting for or against? There's probably something brilliant in that. How many fashion houses can say that the founder started a record label in a particular part of the world with a particular theme? Find something there that doesn't make people go, what the f*ck?

BBH was the advertising agency for Levi's. Levi's is the perfect example of how an advertising agency tells a complete story with fashion chops. Done in a way that creates culture and doesn't follow it. Levi's from BBH is still better than any other fashion advertising how many years later? Because we haven't learned anything. I'm not saying what Rabanne have done is bad. I think they've got something uniquely interesting. You can't build a fashion house on the fact that Paco Rabanne started a record label, but there's a philosophy there!

M-C.H: They could have extrapolated it.

G.L: Help people understand why you've made this film. Otherwise, it feels like a tactical appropriation. It looks like they're trying really hard to be part of a community that they don't belong to. Whereas possibly, they've got more of a reason to be there than anybody else. It's just not communicated.

Sunset To Sunrise | Rabanne

M-C.H: Does it land offensively to you? One note I had was the shaky results that come from alien curiosities of a non-native culture. It's where appropriation comes from, basically. The ‘What is that? I'm not a part of that, but I'd like to steal it.’

G.L: It looked like they were trying to be cool. It's the equivalent of a beer brand doing an ad, wanting to be cool and casting people with tattoos.

M-C.H: I thought this basically looked like a Sean Paul video mixed with Rihanna's ‘Work’ video. When the consumer goes in to see the clothes, but they're not familiar with the clothes, it's like, what is this, this is not what I wanted.

G.L: Kind of a waste because one might look at it and think, ‘This is meaningless, it's trite and they're trying to be something they're not. I find that slightly offensive.’ Versus their real right to be part of this with leadership and authority. I think they might be missing a trick. There could be a lot of potential here.

M-C.H: Dossena has been doing idiosyncratic things this decade. Knowing that, it didn't land as a complete slap in the face. He's been putting his girl in bizarre locations. One time, he constructed a pro wrestling steel cage about two years ago. I thought that was fantastic. So he's been transposing what Rabanne could mean. This wasn't too shocking. But again, the strategy of the idiosyncratic girl in idiosyncratic lands hasn't been communicated broadly enough. If you see it, you're going to wonder, what the hell am I looking at?

G.L: Part of brand strategy is really understanding the objectives. Who are we talking to? If they're talking to people that already know, love and buy Rabanne, then it may just be another bit of communication to keep customers entertained.

If it's somebody that isn't going to see everything else the brand's doing, and they're trying to bring on new customers, you’ve got to explain to people what they're looking at and why. The tennis balls, 1 versus 20?

M-C.H: Yes! That's at play here in a big way.

G.L: I don't want to give them a sh*t score. It’s quite unusual and brave for a house to go back to the past and find something that they want to leverage. So good on them for that.

M-C.H: If we were reviewing this as a fashion film, it might be rated higher. Since this is fashion marketing and communication, it's too confusing. There is no why here for a customer. I'd give it a 4 out of 10.

G.L: Yeah, I'm going to give it a 5 for effort. Okay.

M-C.H: It's so well done though! They did the research into the history of Rabanne.

G.L: Here's the thing. The designer could have just liked the look of this culture. You'd end up with the same film, either way. No one knows why. And no one's reading the press release.

Rabanne High Summer 25 Campaign Rating: 4.5/10

Miu Miu Upcycled By Catherine Martin

M-C.H: Speaking of the audience, let's jump into Miu Miu Upcycled. It’s a new way to rework the offcuts and unused clothes from '90s Miu Miu to make something modern, but nostalgic. It's your favorite word Gill, sustainability. How do we leverage sustainability in a magical way? Miu Miu is the industry standard this decade for a branded strategy. They do a great job of compelling you to buy something without overcommunicating a story. Does that continue with Miu Miu Upcycled?

G.L: Well yes, you're right. Sustainability is one of my favorite words, because, like luxury strategy, it’s a very abused word. It's fundamentally flawed. We are fed a lot of bullsh*t as consumers. The truth is that the only real sustainability is reusing clothes. The only way to have significant changes is if the big fashion houses implement actual strategic processes. Knowing that's not going to happen puts what Miu Miu is doing in a different light. It says these efforts are significant.

For me, it's one of the most authentic efforts I've seen from a large brand. There may be others, but this is the only one I've come across that doesn't feel like a little footnote on the press release.

M-C.H: Do you think that's because a costume designer can frame it desirably, with less virtue signaling?

G.L: From my perspective, I don't care. The suits have made a good decision. I'm going to bet that the amount of money it costs to do everything they've done for this campaign, they are not going to make their money back.

Upcycling is still such a nascent early stage, misunderstood category. It is used for marketing props. Brands need to invest in growing it because it's still not remotely mainstream.

M-C.H: Is this a storytelling device to explain how it could be done well and done successfully?

G.L: If I was in the room I'd say, ‘You need to hit people over the head a lot more than just a tagline that says upcycled.’ When I looked at the film and saw the ads, if you said to me this is Miu Miu main line, I'd say, ‘Okay.’ I have no reason to believe or understand why buying upcycled clothes matters. I think the communication wasn't clear enough. On the one hand, it's good because it doesn't look like the poor cousin of the main line. But on the other, it's not different enough to stand out as an upcycled business.

M-C.H: Could the fact that it slides in seamlessly with what Miu Miu does take the stigma and virtue out of upcycling.

G.L: Then what's the point of doing it? You might as well just sell the regular stuff. That's the cost of entry. Look who we're talking about. It's Miu Miu and Prada, right? They're not going to put out anything that's not great. So as a consumer, I want to know why. Why should I be buying this new line over the main line that I usually buy?

M-C.H: Where Miu Miu communicates just buy it, this is saying buy into cinematic fashion with a Sofia Coppola patina.

G.L: But you're not buying into anything, are you? It's just a nice film. I don't know unless I've missed something. I didn't want to go buy Miu Miu Upcycled.

M-C.H: So for you, it's too in-between. An unclear product category.

G.L: If they're serious about it, upcycled is the reason why I'm going to buy it. It's the extra reason I'm going to buy Miu Miu. Miu Miu is telling me to. These are new bragging rights for me. Make it more obvious. It's like Miu Miu have grown some fashion balls, but they're still tightly cupped. Go for it!

Miu Miu Upcycled By Catherine Martin feat. Diana Silvers

M-C.H: Based on the rubric again, your points?

G.L: I've got to give them something high because it's all there. All of the work is in the press release for these houses. They leave too much of the great communication in the press release, without having creatives take that press release as a brief to communicate it in a unique way.

M-C.H: So grade Miu Miu.

G.L: I'm going 7.5.

M-C.H: We were so close! I am giving it a strong 7.You want to buy the clothes because they just look like Miu Miu clothes. I don't think that's a bad thing. Miu Miu is all about buy our stuff. If these happen to have positive ethics, that's a bonus.

G.L: The only thing I'm missing is, tell me why I should buy the upcycled version. Why does upcycling matter to Miu Miu? That's how you get to something unique that not everybody else is going to talk about. The other role of brand strategy is to get out of category generics.

M-C.H: Explain that more to our audience.

G.L: Category generics are luxury, versatility, any of those trite labels that people put on anything. It's like saying, ‘For our summer collection, we're going to show you where you're going to wear this stuff.’ You don't have to sell me summer. I know what I need to buy for summer. Tell me why I should be buying yours.

Growing the category is about making people want that version, not because we're guilting them into saving the planet. That never works. How are they going to do it that is true to Miu Miu? That's the thing that I think they missed out on.

Miu Miu Upcycled by Catherine Martin Campaign Rating: 7.25/10

Valentino Fall 25 | Campaign

M-C.H: Let's get into Valentino. We have two distinct Valentino campaigns: the Fall '25, then the Nellcôte bag/summer festival mashup. You quite shadily called it something else. What do we think, buying versus buying into?

G.L: The first thing you're buying into is Alessandro Michele's brand of slight absurdity in real life. That's one of the reasons customers will follow him to Valentino. That's why they hired him. I think the best brand strategies can deliver great work with strong tension.

M-C.H: In this campaign, he created tension for the absurd. These clothes aren't particularly relevant. So he made them irrelevant in the best way possible.

G.L: It was all a little Wes Anderson, wasn't it?

M-C.H: Yes, it was.

G.L: It was very nice to look at. Is there a brand strategy there at all? I don't know. The other question I like to ask is, to what end? He's clearly saying there is a distinction between my predecessor's work and what the new Valentino is. I think that Alessandro's brand is so strong. It doesn't matter where he goes, his brand is very strong.

M-C.H: I think you're buying into something. You're buying into him again. The way that he sees these clothes in the world.

G.L: You're buying into a visual world. Most brands with a good brand strategy behind it have a role in culture. There's no role in culture that I can see with the Nellcôte. They're just little hippie gangs of cool kids. I did put the Marc Jacobs logo on one of those ads.

Maison Valentino Presents The Nellcôte Bag

M-C.H: That was the shady thing I was alluding to earlier. The Nellcôte campaign felt like anything. It felt like Marc by Marc Jacobs, as you said. It felt like a Gucci Teen category when Alessandro was at Gucci. It could have been Frida’s Gucci.

G.L: Absolutely! And so at that point, to what end in this instance is, ‘that's a nice bag.’

M-C.H: It's not even that nice.

G.L: Well, I have to suspend disbelief. What I think about the products doesn't really matter. What I'm concerned with is the communication.

M-C.H: What are you communicating to a customer that would compel them to buy this bag or this world? There is no category difference here. It's just bullsh*t.

G.L: Let's reverse into something. If I was on a quiz show and had to come up with a strategy, it might be, ‘The world’s gone to sh*t. We're going to dress up for it in everyday life.’ So dress up for the absurdity of things. That's Alessandro's brand, but what makes that Valentino?

M-C.H: Valentino’s never felt remotely youthful. Ever. Maybe a question could have been, how do we inject a feeling of feral youth into Valentino? How can we make that answer Valentino, but also absurdist Alessandro, because that's what he does well.

G.L: The thing that's missing is Valentino. The guy knows how to make a great gown, so you're not losing that side of Valentino. If Alessandro started his own brand, it would probably look like that. I'm not saying any of this is criticism because the clothes are beautiful. If I'm just talking from a communications perspective, I don't know what makes this Valentino. I'm going to go back to my analogy. If a maison does not have the foundation, the rest is going to crumble or be generic.

Valentino Fall 25 | Campaign

M-C.H: The fall campaign was a successful 50/50 of Alessandro and Valentino with Alessandro curating that Valentino history in his way. The Nellcôte is just vanilla. Fat-free, sugar-free, gluten-free vanilla.

G.L: It's what happens, isn't it? It's like, we'll do a little homage and just respectfully pass the baton, then I'll go and do what I want. It's like with Hedi [Slimane]. We all know he's a fantastic designer. I love everything he does, but he does the same. He is the brand of Hedi. A house recruits him because they want what he does.

M-C.H: We're not going to go there.

G.L: I know we have had this conversation, and you changed my opinion in terms of what he did at Saint Laurent. And you're right, but still…it’s definitely Hedi’s version.

M-C.H: How do we rate this one? The fall campaign, the stills in the video, personally…I'd give it a 6.

G.L: I was going to give 5. I don't mean to be rude about any of this. I know what it takes to do great work, how hard it is and how much work, talent and experience it takes. That's not what's up for debate here. It's purely based on what is the consumer takeaway.

G.L: How many seasons has he done?

M-C.H: He's barely 7 months in.

G.L: Give the guy a break.

Maison Valentino Presents The Nellcôte Bag

M-C.H: The Nellcôte bag is an easy 3. It's useless. Irrelevant.

G.L: Is that the Marc Jacobs ad?

M-C.H: [Laughs] Yes.

G.L: Yeah, it's 3.

M-C.H: It fills in a budget line.

G.L: It's like the diffusion line. Valentino by Valentino for Valentino.

M-C.H: [Laughs] Exactly. Valentino Youth. In any case, what’s your grade for the bag campaign?

G.L: I'm with you, 3, 2 and a half.

Valentino Fall 25 Campaign Rating: 5.5/10

Valentino Nellcôte Bag Campaign Rating: 2.75/10

Prada Days of Summer Campaign feat. Troye Sivan

M-C.H: Let's look at Prada. We may end up arguing.

G.L: The people on the boat were definitely more modern. I got a bit confused because the press release said…the fact that I had to read the press release to understand what was going on…it's the freedom of the season whilst being trapped in a boat in the middle of the ocean, and the models are hedonistic pleasure seekers.

Their models are standing on a boat looking a bit miserable. So I couldn't find the hedonistic pleasure seeker in it. Years ago, I worked with the Ministry of Sound on the launch of their Ibiza tracks.

M-C.H: That's crazy!

G.L: It was crazy. It was pure hedonism. We're talking about late-90s Ibiza, right? Clubland. So I clearly have a view of what hedonism is during the summer. Where's hedonism here, stuck on a boat with a nice bag?

M-C.H: Maybe it's implied because Troye Sivan's on one of the boats. His last album was about embracing hedonism, feeling the rush, his first single being ‘Rush.' Then ‘One Of Your Girls’ was a subtextual hedonism. Maybe Prada cast him as this implicit pop definition of hedonism. Obviously, it's not enough, but it's something.

G.L: Who the f*ck is going to know that? There's a way to hit people over the head so that they grab the tennis ball.

‘For our summer collection, we're going to show you where you're going to wear this stuff.’ You don't have to sell me summer. I know what I need to buy for summer. Tell me why I should be buying yours.

Prada Days of Summer Campaign feat. Hunter Schafer

G.L: To the naked eye, a girl on a boat with a bag is always just somebody on a boat during summer with a bag. If you're somebody looking to buy a bag for summer and you've bought Vogue, all of those ads are staring at you. Which bag do you go for? You go for the bag that you like the look of, or a brand that you're already affiliated with. Let's assume you're not affiliated to a brand yet. You're going to pick the bag that you like, so in which case, why don't you just put a product shot with a logo on it?

That's always the test. How does this help more than if we just put a product shot in it?

M-C.H: Could I argue that maybe they are speaking to their customer base with this one? Have the Prada consumer buy into this high summer category first, then we can worry about a broader spectrum later.

Knowing Prada in a certain way, that Prada austerity, the weirdness, the way the models are gazing. I was able to see old Prada girls just in the gaze of Hunter Schafer in her boat. That's going to engage a Prada enthusiast, to look at this closer and give it a second glance, whereas you'd probably just walk past it.

Does it make sense from a strategic tactical standpoint to engage your base to build off of, or do you start with the masses?

G.L: Most brands don't want to alienate their existing customer base.

M-C.H: So then you start speaking to a Prada person.

G.L: The only reason you stop speaking to your current base is if they're all dying and they’re not spending enough money. We know Prada is making money.

Prada has always been great at that abstract architectural view of the world. I feel like that part of the brand, and I'm not speaking literally, I don't mean it should be architectural. Prada was always…

M-C.H: It's very forensic.

G.L: That feels missing. Is this more Raf than than the core brand?

M-C.H: I mean, Raf loves alien aspects. He loves alien settings and ideas.

G.L: Well, then make this a little more alien.

M-C.H: Again, Prada doesn't hit you over the head. It's understated. So you've got these models in trances. The funny thing is I'm digging a grave for scoring because of over-explaining this campaign.

G.L: I would lean into the mystery a bit more and not expect that this is something to do with hedonism. Have I misread what they meant by that?

M-C.H: It's their press release. 'Hedonism' comes off as superfluous because it doesn't connect to what you're seeing here.

G.L: You're right, it's not the obvious girl on the beach that’s been done so much. It's not your Ralph Lauren yacht. The other thing I like here is they're not really selling the clothes. Just give it some real mystery. Put the bag in the boat. Then, why is there a bag randomly drifting somewhere on a boat? But maybe I'm expecting people to use their imaginations too much.

M-C.H: How do we want to rate this?

G.L: I feel bad just sticking in the middle ground. I'm finding it hard to rate this. If we had a conversation with Raf, there would be something meaningful there. But I don't see it.

M-C.H: Gill as customer would walk past this because there isn't a strong enough pull.

G.L: I would think the best response would be, ‘Oh, that's a nice bag.’

M-C.H: You're being kind. The tactics aren't tactic-ing.

G.L: I'm giving it a 4.

Prada Days of Summer Campaign feat. Giuseppe Cirillo

M-C.H: I was very much into this campaign straight away, being an old Prada fan. This ties back into the Prada that I knew and grew up with. So the images made sense. That surreal and austere sense of fashion is Mrs. Prada. You could see the history in the gaze of models’ eyes. Also in the look of one of the models, Giuseppe. Even still, taking yourself out of it to question what this is communicating, what you are buying into?

G.L: Their identity is so strong, and I don't think it's communicated here. I'm going to be awful. If you changed Prada to Zara?

M-C.H: No, because it doesn't look like Zara. These don't look like Meisel images.

G.L: The point I'm making is that the brand is in the hands of a photographer's style, not what the brand means on its own two feet in culture.

M-C.H: Then it gets a 5. Making that slight change on that bag, swapping Prada out for Zara, you're right. It doesn't feel individual enough to be Prada. It creates more questions than answers and there's no desire here.

Prada High Summer 25 Campaign Rating: 4.5/10

Check out our Campaign Review, part two.