Echoes in the sand

When we started imagining the Sahara campaign, we weren’t thinking about trends or collections. We were thinking about atmosphere — about the strange beauty that comes when art, music, and emptiness collide. A few images guided us from the start.

Pink Floyd in Pompeii — that haunting performance in the ruins, Roger Waters and David Gilmour eating oysters before flooding history with sound. The absurdity, the grace, the silence between the notes.

Then Sirat, a film that feels like a mirage — a techno ritual in the desert, raw and hypnotic.

Of course, Mad Max, where survival becomes style and dust becomes desire.

Those worlds mixed in our heads with something older — the timeless elegance of Mille et Une Nuits, the kind of beauty that doesn’t need to shout. Scheherazade is the woman we imagine. 

And finally, a touch of irony: the modern Sahara we know today, full of ski trips, camel rides, and selfies — clichés we decided to embrace and twist.