Michael Kors’ Fall 2025 Campaign Is A Cinematic Roman Holiday

Rome refuses to go out of style. Maybe it’s the way the golden-hour light shines on the Pantheon or the fact that the cobblestone streets have seen a love story or two, but the city's eternal allure is has long been a source of inspiration. This season, Michael Kors took the city’s eternal allure and turned it into a moodboard for effortless glamour.

The Michael Kors Fall 2025 campaign, shot by Lachlan Bailey, stars Suki Waterhouse and Logan Lerman and makes them look like they’ve stepped straight out of a Fellini dream.

The campaign is called La Dolce Vita, and for once, the phrase doesn’t feel like a cliché. Kors knows how to bottle fantasy without making it feel dated. His Rome isn’t just about romance, it’s about momentum. From the Spanish Steps to Piazza Navona, the campaign trails Waterhouse and Lerman through a city that moves as they do: confident, curious, and chic. The designer has always had a way of merging luxury with ease, but this season he sharpens the contrast. Heritage silhouettes are made modern, history meets the now.

Waterhouse, with louche sophistication, moves through the city like she owns its rhythm — hair undone, gaze deliberate, the epitome of Michael Kors glamour. Across from her, Lerman embodies a different kind of masculinity — sharp but not stiff, the sort of man who wears tailoring like memory. From one frame to the next, he seamlessly transitions from cinematic polish to laid-back ease with the addition of a suede jacket and sunglasses. His messenger bag is a nod to the urban MK man who is always on the go.

The styling, by Emmanuelle Alt, hits that sweet spot between elegance and spontaneity. Statement outerwear, fringe details, and new silhouettes of the Nolita and Hamilton handbags stand out against Rome’s marble-and-shadow backdrop.

Set to Waterhouse’s re-recorded rendition of Don Henley’s “All She Wants to Do Is Dance,” they play like vignettes from a modern love story — two people crossing paths against Rome’s piazzas and fountains, framed in Rome’s golden light.

“Rome, for me, is a city that inspires awe,” says Kors. “It’s cinematic, it’s dramatic, it’s urban.” He’s right. But what makes this campaign land is the chemistry, the rhythm, and the reminder that style isn’t static. It’s motion, it’s attitude, it’s a life well-lived.

There’s a sense that Kors is revisiting the golden age of jet-set glamour — only this time, it’s less about status and more about substance. La Dolce Vita, in his hands, is a reminder that luxury, like Rome, endures when it feels alive.