Few faces capture the essence of early 2000s fashion like Daria Werbowy. In Alaïa’s new campaign, she returns to the lens with the same stillness and sensuality that made her an icon.
Daria Werbowy was once the quiet force behind a decade of fashion imagery. With her sculptural presence and instinctive grace, she defined the early 2000s, walking for Chanel, Prada, Balenciaga and becoming the muse of a minimalist generation. Her gaze, somewhere between restraint and intensity, shaped the visual language of a time when less was everything.
Now, in the Alaïa Winter Spring 25 campaign, she appears in a luminous Miami setting captured by Tyrone Lebon. The atmosphere is stripped back, intimate and bathed in natural light. Werbowy’s presence animates the space without effort. Pieter Mulier calls her “the ultimate woman,” describing her as the perfect extension of the recent show at the Guggenheim Museum in New York.
Mulier’s designs for this collection echo the sculptural curves of Frank Lloyd Wright’s architecture. In this campaign, Werbowy becomes both frame and figure, her body shaping the rhythm of the clothes. There is no ornament, only line, light and freedom. The purity Mulier speaks of is not a theme but a texture, visible in the tension between her stillness and the garments’ movement.
Werbowy, who stepped away from the spotlight in 2016, has made rare but impactful appearances in recent years. This campaign is not about return or reinvention, but continuity. A quiet dialogue between form and presence.
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