Rebecca Hall has the kind of face that seems to know something you don’t. It is probably why Maison Margiela decided that, for Fall/Winter 2026, one Rebecca Hall was not quite enough.
In Anonymity, the new campaign for Maison Margiela’s Fall/Winter 2026 collection, Hall finds herself opposite a masked double who looks suspiciously like the person she is supposed to be. The campaign is directed and photographed by Thibaut Grevet and plays like the trailer for a thriller that never actually gets released. Which is, honestly, a very Margiela thing to do.
There is no tidy explanation for who the double is. She simply appears. Sometimes she is across the room. Sometimes she is beside Hall. Sometimes the two women are dressed almost identically, which makes the whole thing feel less like a fashion shoot and more like the beginning of a very expensive nervous breakdown.
Hall moves through dark interiors, wet streets, cars and rooms filled with mirrors, wearing the Fall/Winter collection designed under creative director Glenn Martens. The clothes keep changing the rules of what they appear to be. Second Skin is worked into an Edwardian-inspired tailcoat and skirt. Tapestry is treated so that a shift dress seems to melt into draping. Bianchetto, one of the house’s recognizable treatments, covers a long dress with a plunging neckline.
Then there are the masks.
This is where the campaign gets properly strange. Artisanal masks become the face of Hall’s anonymous counterpart, turning what could have been a straightforward celebrity campaign into something much closer to a question about identity. Who is the person underneath? Does it matter? And why does the masked woman somehow seem more recognizable the longer you look at her?
There is something particularly good about putting an actress at the center of this story. Hall is already someone audiences are accustomed to watching become other people. Here, that familiar relationship gets turned inside out. She is recognizable precisely because the campaign keeps making recognition unreliable.
The collection itself continues Maison Margiela’s long fascination with anonymity, transformation and the strange possibilities of clothes. That history goes back to founder Martin Margiela, whose decision to keep himself out of the celebrity-designer spotlight became one of the defining ideas around the house. Martens does not simply repeat that history. He plays with it.
The result is fashion advertising that seems to have a plot, even if nobody bothered to tell us what happens at the end.
And maybe that is the fun of Anonymity. Hall looks directly into the mystery, her double looks back, and Maison Margiela leaves us standing somewhere between the two.
For once, the fashion campaign is the thing with the identity crisis.
