The New Era of Denim Campaigns From Gap to Beyoncé and Beyond
Denim is largely considered a wardrobe staple—your favorite pair of jeans that go with everything, the oversized jacket you wear when it gets cool on summer evenings. The history of denim, however, extends far beyond its current societal significance. Culture is always whispering and communicating through the least expected mediums. Pushback against this claim might lead to outcries about “unimportant” and “trivial” talking points. The argument falls through in the middle because of this unavoidable truth: meaningful things must be given meaning. Any fuel in the discourse surrounding a topic can then be utilized by brands and artists to make statements, take stances, and sell products.
The claim and belief that denim is not connected to race and should therefore remain that way is false and ignores denim’s long-standing role as a political and cultural symbol. Denim is strongly tied to Black activism—as a form of protest and, in later decades, through unapologetic, bold, trendy fashion. Hip-hop and rap, in particular, helped create a culture around denim that bolstered African American influence in popular media.
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Last month, Gap dropped what is considered the newest installment in the 2025 denim saga of campaigns. The 90-second ad featured global girl group Katseye, a troupe of denim-clad dancers, and Kelis’ “Milkshake.” With over 10 million views in ten days, the ad’s intergenerational approach has garnered traction through many viral clips and think pieces. Everyone’s watching.
The featured group, Katseye, is made up of members Daniela Avanzini, Manon Bannerman, Yoonchae Jeung, Sophia Laforteza, Lara Raj, and Megan Skiendiel. Katseye debuted just last year and has members from Switzerland, the Philippines, South Korea, and the United States, with even more ethnically diverse representation. The group’s formation through K-pop methodology and under a joint Korean-American label makes their public support for the queer community, among other things, particularly groundbreaking.
Lara Raj, an Indian American member recognized for her vocal abilities and bold fashion, continues to uplift and showcase her culture. Whether wearing her bindi or om necklace—or simply being proudly Indian in the industry—she has resonated with audiences and other celebrities.
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From Manon showcasing Ghanaian waist beads, Megan wearing her Chinese jade bracelet, and Daniela shining center stage as she sings the Spanish bridge in the group’s Latin-influenced song “Gabriela,” the group does not shy away from highlighting beauty, ability, and talent across cultures and races. The group has also effectively targeted representation for younger audiences. Sophia Laforteza and Yoonchae Jeung dressed up as a Filipino vampire—Manananggal—and a Korean White Tiger—Jangsanbeom—respectively, for a recent Monster High campaign.
In Gap’s campaign, the group performs choreography by Robbie Blue that is funky and fresh, playing with unique body lines and syncopated movement. Its effectiveness is evidenced by the many viral recreations circulating online. Beyond these elements lies the campaign’s grounding force: a tribute to Gap’s intrinsic ties to 90s and early 2000s nostalgia.
Founders Donald and Doris Fisher have stated that Gap was created to help bridge the literal gap across generations and status: the difference between what a parent and child desire, and the additional difference between luxury and retail shoppers. Initially offering only denim apparel and LP records in 1969, Gap soon expanded to its own apparel in the mid-70s. The transition allowed Gap to truly flesh out this niche with cool, casual, and staple pieces.
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Various taglines, including the iconic “Fall into the Gap,” are seared into the memories of TV watchers of that time. Possibly even more iconic were Gap’s TV commercial campaigns, “Khakis” and “Everybody In,” which featured similarly styled, diverse talent singing or dancing along to music. The formula is an obvious inspiration for Gap’s most recent commercial campaign featuring Katseye.
“Milkshake,” originally released in 2003, is a classic earworm that Kelis re-recorded for the commercial, allowing her to receive compensation from the advertisement. The elements work together to not only make the ad visually and audibly addicting to watch but also showcase the functionality of the product itself.
For a few seconds in the middle of the ad, member Daniela Avanzini maintains a fierce leg-hold as she stares into the camera. No tears, no discomfort, no restriction—all in jeans. The group shared with Glamour that, “The denim moved with us, and every look felt like our own. We got to perform as ourselves, bringing our style and culture to every frame. That’s what makes this moment so powerful.”
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Another denim campaign currently circulating, American Eagle x Sydney Sweeney’s “Great Jeans,” does not attempt to showcase functionality. American Eagle Outfitters was founded in 1977 by brothers Mark and Jerry Silverman. The brand’s titular significance correlates with its initial emphasis on outdoor footwear and apparel. Now, American Eagle sells casual apparel, including jeans, to a mostly young adult consumer base.
The controversial Sydney Sweeney campaign, despite boosting sales, resulted in public outrage and discontent online. The campaign’s minimalistic, intimately delivered script claims that star Sydney Sweeney is a beautiful woman with great American Eagle jeans. Many found American Eagle’s decision to market a blonde, blue-eyed white woman as a spokesperson for “great genes” questionable, to say the least.
Arguably, the “nostalgia” that American Eagle pulls from is a 1980s Calvin Klein commercial in which 15-year-old Brooke Shields also used “genes” and “jeans” wordplay while she put on her denim. Similarly, the backlash—and the backlash to the backlash—brought in large numbers and engagement for both American Eagle and Calvin Klein. While American Eagle’s campaign has undeniably bolstered its earned media value (EMV), Gap’s campaign has fostered positive conversations around representation, functionality, and cultural awareness. Nostalgic campaigns continue to reverberate through the denim sphere with the Beyoncé x Levi’s collaboration that began last September.
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In tandem with Beyoncé’s song “LEVII’S JEANS,” the first of a four-chapter ad campaign was titled “Launderette,” an obvious reference to the iconic Levi’s 1985 Launderette ad that propelled the company’s sales by 800%. Beyoncé’s campaign seemed to fuel racialized pushback against her commitment to embracing African Americans in her music, storytelling, and aesthetic appeal. Criticisms from political commentators often implied that her campaign and country-themed era felt inauthentic, with one suggesting that her blonde hairstyle “culturally appropriates Marilyn Monroe.”
Sydney Sweeney, a natural brunette, is often put on a pedestal—or left out entirely—of this discourse. Either way, consumers may find themselves drawn to one brand over the other during a time of increased polarization. By paying attention to the language used in and conversations surrounding these campaigns, the underlying message behind criticism is amplified. Language is inherently coded. Marketing is targeted and carefully designed. Sometimes, denim isn’t just denim.
by Morgan Bryant
