Why AMIRI’s New Campaign Feels Like a Lost ’70s Film Set in Modern L.A.

After dark, Los Angeles becomes a different kind of stage. For Autumn-Winter 2025, AMIRI leans into that twilight world, crafting a campaign that feels more like cinema than fashion. Shot on 35mm film by Drew Daniels (Anora), and directed by Todd Tourso, Hollywood Noir unfolds as a series of short narrative films and still portraits set against the neon-lit pulse of the city.

The inspiration is pure Hollywood, the visions that have shaped our idea of the city for over a century, reimagined with the energy of now. The films star Miles Caton (fresh from his breakout in Ryan Coogler’s Sinners) and Lucky Blue Smith, who play heightened versions of themselves, characters that move between introspection and indulgence, navigating the city’s contradictions. Cameos from Keith William Richards and Inde Navarrette weave into the tapestry, each encounter a fragment of a larger night.

From a rooftop cigarette break to whispered conversations in a velvet-lined bar, from backseat reflections in a limousine to fleeting moments at the Hollywood Roosevelt Hotel, the stories capture not just the glamour of the city but its quiet mysteries. The Roosevelt, with its art deco bones and golden-age aura, becomes both stage and character, grounding the dreamlike visuals in a place heavy with history.

The clothes are inseparable from the narrative. Slick tailoring with a languid ’70s silhouette. Embroidered velvet bomber jackets. Sparkling crochet gowns that catch the light like sequins on a screen. Each look isn’t just worn — it becomes part of the character, a lens through which we see Los Angeles itself.

Opulent, layered, and cinematic, the campaign captures the essence of AMIRI: fashion as story, style as character, and Hollywood as both muse and mirror. This is not just a night out — it’s the night before the morning after.