Miley Cyrus just changed the rules again. In August 2025, she became the first celebrity ambassador in Maison Margiela’s 37-year history. Yes, that Margiela, the fashion house built on mystery, quiet rebellion, and an ironclad no-celebrity rulebook. And now, it is Miley stepping into their world, covered in white paint and wearing only a pair of iconic Tabi boots.
It is a hard pivot for a brand that has spent decades dodging fame, preferring anonymity and craft over hype and headlines. But in 2025, even Margiela couldn’t resist the pull of Miley’s cultural weight and boundary-pushing style.
A Philosophy Built on Staying Anonymous
Maison Margiela was founded in 1988 by Martin Margiela, a Belgian designer who ghosted the spotlight before ghosting was a thing. He didn’t give interviews, skipped red carpets, and let the clothes do the talking. Press inquiries were answered by fax. There were no press junkets, no flashy front rows, just fashion.
Even after Margiela left in 2009, the label stuck to that low-key ethos. No creative director took the spotlight. The design team stayed anonymous, pushing a vision of collective creativity over individual ego. That is why Miley’s appointment hits so hard. It challenges a system that has stood firm for decades.
Martin Margiela often said he designed for people outside the spotlight, for those who wanted to express themselves without chasing luxury clout.
Celebrity deals were off the table. Stars could wear the clothes if they wanted, but Margiela wasn’t calling Hollywood agents to lock in brand deals. That is why the Miley Cyrus campaign doesn’t just turn heads. It rattles the foundation a bit.
Miley Cyrus didn’t walk into this campaign quietly. Shot by Paolo Roversi, the imagery is stark and haunting. Black-and-white portraits, heavy shadows, white paint smeared across her skin—her face is hidden in many shots, sometimes cropped, sometimes shrouded. The focus is on form, texture, and mood, not celebrity shine.
The Power of White Paint and Tabi Boots
There is a deeper reason for the white paint. It connects back to Margiela’s bianchetto technique, first used in 1989. Back then, Margiela would overpaint objects and garments in white, giving them a fresh, ghostly life. It was raw, unfinished, and powerful.
She even said, “All I wore was body paint and the signature painted Tabi boots. In that moment, Margiela and I became one.”
A Collection Built on Memory and Wear
This campaign wasn’t just about image. It tied into the Autumn/Winter 2025 Avant-Première Collection, which explored the beauty of worn, repaired, and lived-in clothing. Think creased fabrics, visible stitching, and pieces that looked like they had a past. Even the Tabi boots looked like they had been through it all.
For this collection, Margiela leaned heavily into artisanal techniques, highlighting timeworn textures and salvaged style. Miley’s shoot mirrored that ethos. Her paint-smeared body and stripped-down look felt imperfect and raw, like a person who has been through something real.
