Chanel has officially unveiled its Spring Summer 2025 eyewear campaign, marking the debut of Kendrick Lamar as a brand ambassador for the house. The campaign introduces the Compton-born artist alongside three fellow ambassadors, Lupita Nyong’o, Margaret Qualley, and Nana Komatsu, each selected for their influence and singular artistic voice.
EYEWEAR
Karim Sadli photographs the campaign, capturing a sharp, pared-back aesthetic that centers on the wearers themselves. Lamar’s inclusion reflects Chanel’s decision to move with intent, linking its eyewear to artists who don’t follow but define their own direction. With multiple Grammy Awards and a Pulitzer Prize to his name, Lamar continues to reshape modern music while stepping into fashion on his own terms.
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“Chanel has a timeless legacy and that is always something I can get behind,” Lamar said, referencing the decision to collaborate with the house. “Since they don’t make clothes for men, I knew it would have to be glasses.” His comment reflects both clarity and humor, acknowledging Chanel’s history while pointing to eyewear as a fitting entry point for a figure known for precision in language and image.
The campaign doesn’t rely on overstatement. Each ambassador wears a frame that stands out through form rather than excess. Chanel revisits vintage silhouettes and updates them with structure and intent. The result is eyewear that balances contrast, sharp lines softened with transparency, oversized frames grounded by clean hardware.
Nyong’o brings years of familiarity with the house, having maintained a close relationship with Chanel for over a decade. Her appearances in past campaigns and on red carpets have defined her as a long-standing presence in the brand’s orbit. Margaret Qualley, known for her fluidity across film and fashion, continues that trajectory with ease. Nana Komatsu, whose work in films such as World of Kanako pushed visual and emotional boundaries, completes the group with quiet intensity.
Each of the four contributes something distinct to the campaign. Rather than following a uniform concept, the portraits allow the personalities to guide the tone. Sadli’s images use contrast and light sparingly, allowing the focus to remain on face, frame, and the space in between.
Eyewear often becomes an afterthought in fashion campaigns, yet here, it leads. The glasses don’t sit in the background, they mark the point of tension, anchoring the images and directing attention. By placing Lamar and the others in minimal environments, Chanel lets proportion and detail carry the weight of expression.
This campaign arrives at a time when brands seek depth in collaboration. Rather than opting for traditional fashion figures or short-term hype, Chanel focuses on individuals who build long-term cultural presence.
