Crocodile Stories
Hello,
Thanks so much for sending this my way!
This project feels like a summer remembered rather than staged. That tone is exactly where I feel most at home as a director.
When I first spent time with the deck, what immediately pulled me in was the balance it strikes: cinematic yet light, playful yet grounded, nostalgic without ever feeling referential.
This project isn't about explaining summer. It's about feeling it — by letting moments unfold naturally and allowing Lacoste to live inside those moments with ease.
Let's dive in.
A cinematic and docu-style approach will be elemental to pulling off a project such as this. The campaign unfolds as a series of lived-in vignettes, which operate like fragments of a journey rather than a linear narrative.
Our characters are having a good time over summer holidays, and it's essential that our tone conveys exactly that.
From the road to the beach, we follow the rhythm of summer through the unique essence and style of our characters, as they reveal themselves through gestures, mannerisms, slight quirks, and shared experiences.
Our visual language leaves the prescribed feeling of forced poses at the door and welcomes natural, human-driven emotion.Cinematography
We will work with a combination of handheld shots and carefully composed static frames, letting some moments breathe in stillness, while others move gently with the characters.
For scenes in which characters get in close for specific reaction moments, we will employ fluid shots, perhaps on a steadicam with anamorphic lenses. This allows for a more intentional result, where the image moves with the characters.
And for our lighting, all of our scenes will be doused in bright, airy lighting that gives the film an inviting feel.
Camera movement is always motivated. On the road, we may grip the camera to the car, allowing us to travel alongside the characters in a calm, immersive way. On the beach, we slow down, leaning into composed frames with minimal movement, where the environment and the wardrobe can truly settle into the image.
Close-ups matter. Details matter.
A hand brushing sand, fabric lifting in the wind, a face squinting into the sun. These small, imperfect moments are what give the film its emotional truth.
Summer always begins with the urge to leave.
A road unfolding, a car filling up, the first ray of sun on your skin.
On the asphalt as on the sand, there's always a sign that feels like us.
A linen polo on the back seat.
Striped dresses already hinting at the color of the holidays.
Then comes the beach.
Time slows down, bodies loosen up, the wind lifts light shirts.
Everywhere, the crocodile slips into summer's small rituals:
a racket game at sunset, a nap in the shade under a parasol, an improvised dive.
Because summer isn't just a destination,
but all the stories we write along the way.
Lacoste signs those stories.
Crocodile Stories — sunlit, elegant, and playful —
where every summer memory, too, takes the shape of the crocodile.
For Spring–Summer 26, Lacoste writes a French summer through a series of visual stories where the crocodile becomes the unexpected holiday hero. From the first kilometers on the road to long afternoons by the water, departure and beach scenes are reimagined with sunlit light, elegance, and a playful spark.
On the side of a national road leading to the sea, a silhouette hitchhikes with a crocodile-shaped sign. Further on, a car packed with friends speeds toward the coast — linen shirts, striped polos, and beach bags already set for summer.
On the sand, a sculptor shapes a giant crocodile, while a roaming vendor nearly disappears beneath a mountain of inflatable crocs, turning the beach into a Lacoste playground.
Each scene is a holiday snapshot — caught in the moment, then gently twisted: a road sign that suggests a crocodile, a small crocodile figurine clipped to the car's dashboard, striped parasols, racket games by the water.
Everywhere, the crocodile slips into summer's small rituals.
Crocodile Stories: summer tales where memories take on the shape of the crocodile.
Everything feels slightly graphic, slightly unexpected, yet rooted in reality. Road signs, parasols, rackets, inflatables, sun lotion packaging — each element feels intentional, but never decorative for its own sake.
Vintage cars are essential to the road sequences, grounding the film in a timeless visual language. The crocodile appears through objects, silhouettes, and interventions that feel discovered rather than imposed — integrated into the environment as naturally as the wardrobe itself.
