A Ferrari eyewear campaign, directed with AI
For their Milan runway, Ferrari showed a pair of sunglasses cut from the same leather they use inside their cars — a limited-edition piece, a handful of pairs in the world. Made to Belong is a concept campaign I built for it: taking a single luxury object and building a whole world around it.
A scarce brand makes one object you can actually own. Most people will never have the car, or live in the world it moves through. But the eyewear is the way in — the one piece of that world within reach, the difference between standing outside the showroom glass and holding something that came from behind it.
So the campaign isn't about a sunglass. It's about wanting in, and the single object that answers it. And that couldn't be sold by showing wealth — it had to live in the image itself: the restraint, the coldness, the register of a fashion campaign.
The idea is contrast. The glasses look like they're from the future, almost alien — though they also carry a memory of the leather goggles a driver wore in an open cockpit in the 1960s. So I set them against something from another century: a 1965 Ferrari 275 GTB, all oxblood leather and chrome.
Then I tied them together with material. The red leather of the frame answers the oxblood of the seats; the chrome around the lens answers the chrome of the car. The same materials, repeated across every frame, until the glasses and the Ferrari stop reading as two objects and become one world.
The model. I cast a face that belongs to no particular decade — strong, architectural features, a stillness that could read as 1965 or 2026. She had to look like she already lived inside this world and had no interest in letting you in.
The light. Hard and directional, cool and neutral — the light of a fashion editorial, not a product shoot. It's what keeps the work on the side of campaign rather than catalogue, and it's unforgiving in a way that reads as confidence.
The palette. A near-monochrome world — restrained, cool, deliberately quiet — so the red of the styling is the only warmth, and the eye has nowhere easy to rest.
The car. Present in every frame, but never the subject. It's treated as material — surface, line, leather — a texture the campaign is built from.
None of it was photographed. There was no model, no studio, no car on a set, no crew. Two things are drawn from reality — the sunglasses and the 275 GTB both exist — and everything else, the woman, the light, the wardrobe, the billboards, the in-feed mockups, was made with AI.
Every choice here — the model, the wardrobe, the light, the car — is the same kind of decision a director has always made, carried from the first idea to the final frame. The tools are what changed.
*Not affiliated with Ferrari