Casablanca’s Beach Club 2026 campaign transports fashion into a sun-faded California dream. Shot at the iconic Pink Motel, the collection blends vintage surf culture, cinematic storytelling and modern luxury into a world where nostalgia becomes style.
Photographers Corentin Leroux and Myles Hendrik approached the project with complementary visions. Leroux meticulously composed scenes featuring models Zoe Panis and Luke Champion outside motel rooms or lounging in plastic chairs with studied nonchalance. Hendrik captured spontaneous moments, highlighting the authentic energy and movement of models Indie Berling and Sid Stopnik. This dual perspective creates a visual conversation between constructed fantasy and documentary reality.
Grayson Harivel and Antonio Macek round out the cast, posing with vintage surfboards against the motel’s faded pastel walls. These aren’t merely product shots, but rather, character studies, where clothing becomes costume in the best sense of the word. Creative director Charaf Tajer has long understood the power of storytelling through fashion campaigns. This project demonstrates his refined approach to building worlds rather than simply showcasing garments.
The collection itself draws heavily from Hawaiian iconography, with nature motifs appearing across multiple fabrications. Lush tropical greens adorn knit dresses and crochet pieces, and wave patterns and volcanic imagery decorate silk sets and jersey separates. A notable color gradient transitions from bright blue to deep green across a cropped, ruched polo set; swimwear styles; children’s pieces; and even a custom surfboard.
Terry-toweling separates and vintage-inspired ringer tees pay homage to 1970s surf and skate culture. These pieces gain depth when viewed against the weathered textures of the Pink Motel’s concrete surfaces and sun-bleached furniture. The contrast between the pristine luxury garments and the deliberately worn environment creates a visual tension that works to the campaign’s advantage.
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Perhaps most striking is Casablanca’s decision to reverse their signature monogram, placing vibrant colors against deep black backgrounds. This subtle subversion signals the brand’s willingness to evolve while maintaining recognizable elements. This technique appears across swimwear and ready-to-wear pieces that balance vacation sensibility with urban sophistication.
What distinguishes this campaign from typical seasonal marketing is its emphasis on atmosphere rather than product display. The models aren’t just wearing clothes; they’re inhabiting characters with implied backstories. A woman lounging by the pool in an elaborate floral cover-up, for example, suggests decades of Hollywood poolside glamour. Another model, leaning against a classic convertible while wearing tailored swim trunks, evokes the mythology of a California road trip.
The choice of location is essential to the narrative. The Pink Motel has served as a backdrop for numerous films and music videos, carrying a cultural resonance that extends beyond its physical structure. Its distinctly American aesthetic provides the perfect counterpoint to Casablanca’s European luxury sensibility. This transatlantic dialogue has always been part of the brand’s appeal, but it has rarely been executed with such clear vision as in this campaign.
Tajer’s understanding of American youth culture feels authentic rather than appropriative. His reference points span decades, avoiding the trap of mere nostalgia. The campaign’s strength lies in its balance of surf culture’s rebellious energy and high fashion’s meticulous craftsmanship. It’s not costume play, but rather, thoughtful cultural commentary through clothing.
Creative Director: Charaf Tajer
Brand art director: Steve Grimes
Image director: Maya Chantout
Photographer: Corentin Leroux
Prop styling: Romain Goudinoux
Stylist: Helena Tejedor
Hair: Dom Forletta
Make-up: Holly Silius
Models/Talent: Indie Berling, Luke Champion, Grayson Harivel, Antonio Macek, Zoe Panis, Sid Stopnik