LISA stepped into winter dressed for impact. The artist shared a snapshot from the mountains, snowboard in hand, wrapped in a Gore-Tex jacket from the Jacquemus x Nike ski collection, captioned with a dry wink: “Now accepting applications for snowboard instructor.” Jacquemus replied instantly, “I can teach you,”turning a single image into a conversation, and the slopes into a stage.
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Revealed in November 2025, the Jacquemus x Nike ski collection reframes winter dressing as a cinematic exercise. The campaign oscillates between two settings: the warmth of a retro chalet and the stark glare of the alpine exterior. Inside, wood paneling, bourgeois carpets, and a strict black-on-black palette conjure a mood that feels lifted from an unreleased 90s film. Outside, snow and light sharpen every line, letting the garments assert themselves against the landscape.
The clothes are precise in their contrasts. Tight-fitting jumpsuits pull the body into a clean, aerodynamic line. Parkas arrive with oversized shoulders that read instantly as Jacquemus, graphic enough for the street, technical enough for the mountain. Goggles sit somewhere between protection and anonymity, useful on the slopes and equally effective for avoiding flashes. Then there are the furry boots, unapologetic and theatrical, hovering between a playful yeti fantasy and early-2000s editorial excess.
LISA’s appearance in the collection sharpens that idea. On her, the Gore-Tex jacket reads less like equipment and more like a statement, technical, controlled, and casually confident. It’s a reminder that the Jacquemus universe has always worked by reframing context: fields, stadiums, runways, and now ski slopes all become plausible settings when seen through the right lens.
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What makes the collaboration click is the balance of languages. Nike brings the engineering, performance fabrics, Gore-Tex protection, winter-ready construction. Jacquemus supplies the attitude, scale, and proportion that turn function into image. The result never slips into textbook alpine gear. It treats the mountain as a film set, not a destination, and winter as a backdrop for character rather than sport.
