Sarah Burton unveils first Givenchy men’s campaign ahead of Paris debut

Sarah Burton’s first Givenchy men’s campaign landed on Paris billboards with an unmistakable cast: Don McCullin, 90, in a Prince of Wales suit, and Cornish painter Danny Fox shirtless beneath a dark jacket, both shot by Juergen Teller. The campaign arrived on June 25, just ahead of Burton’s first menswear presentation for the house in Paris, and it made clear that her menswear chapter is being built around character, not gloss.

Burton was appointed creative director of Givenchy in September 2024, with responsibility for both women’s and men’s collections, and she had already been quietly shaping the men’s line before this public debut. The casting matters. McCullin brings the authority of a photojournalist who has spent a lifetime staring straight at the world; Fox gives the image a looser, more lived-in energy. Together, they pull Givenchy’s male image away from polish-for-polish’s-sake and toward men who look like they have a point of view.

That same instinct ran through Burton’s menswear presentation, which was shown as a presentation rather than a runway show and staged with mannequins amid sculptures by Rachel Whiteread. The effect was less performance, more study. Burton has said the women’s and men’s design studios now sit next to each other so ideas can move between them, and she has described tailoring as the soul of every collection. At Givenchy, that means the suit is no longer just a house staple. It is the organizing principle.

The visual language is changing in a very specific way. Burton’s first womenswear show in fall 2025 was already close-up and stripped of distractions, a studio-to-atelier proposition that put cut, proportion and finish before spectacle. Now the menswear campaign extends that restraint into something more human and grounded, using London creatives, Paris billboards and Juergen Teller’s unsparing eye to suggest a house interested in presence rather than pose. Givenchy’s historic address at 3, Avenue Georges V in Paris remains the symbolic anchor, but Burton is recasting what the house looks like from the street: less lacquered mythology, more flesh, cloth and character.