Apple Martin is having her main-character debut. For Self-Portrait’s fall 2025 campaign, the 20-year-old steps out of her mother’s Hollywood shadow and into her own cinematic orbit. Shot by Ryan McGinley and styled by Mel Ottenberg, the campaign unfolds somewhere between fantasy and folklore an orchard, a forest, and a feeling of quiet rebellion.
McGinley’s lens has always found beauty in the in-between, and here it meets Apple’s soft defiance head-on. One frame catches her standing barefoot in a white gown, a golden snake curled around her shoulders like both accessory and omen. It’s pure symbolism: innocence meeting power, the kind of image that lingers long after the scroll.
Another shot shows her in a silver sequin dress glinting like armor under filtered sunlight. In another, she’s crouched among fallen apples, lace catching on branches, gaze steady and self-assured. The styling is soft but never passive. It’s romance with backbone.
Self-Portrait’s creative DNA, lace, shimmer, structure takes on new life here. The collection mixes English countryside charm with a sharp modern polish, balancing ethereal femininity with quiet strength. It’s less “pretty dress in the woods” and more “young woman reimagining what beauty looks like on her own terms.”
For Apple, this campaign feels like an arrival. After a brief appearance in a Gap ad alongside her mother, Gwyneth Paltrow, this is her first true solo moment. And she owns it. The collaboration with McGinley and Ottenberg feels intentional, the kind of team-up that announces a shift rather than a launch.
Self-Portrait’s fall story isn’t just about fashion, it’s about identity, inheritance, and stepping into the light without asking permission. Apple Martin doesn’t play muse. She redefines what one looks like.
