The highly anticipated 2025 edition of the Pirelli Calendar has been unveiled, signaling a return to its original ethos: sensual, provocative imagery featuring celebrities such as singer Elodie and actress Hunter Schafer—alongside male counterparts. Photographer Ethan James Green emphasized a “classic sexy” approach, with Pirelli fully embracing this direction. Reflecting on recent cultural shifts, Green remarked, “The MeToo movement gave us a much-needed pause,” but added his desire to return to what the Pirelli Calendar traditionally represents. His work, however, raises broader questions about the evolving portrayal of femininity in fashion and advertising.
The Pirelli Calendar’s history mirrors the cultural zeitgeist. While it gained fame in the 1960s for its risqué aesthetic, recent editions, such as Annie Leibovitz’s 2016 feminist-themed calendar, explored introspective and socially conscious narratives. These changes paralleled broader movements, including MeToo, which sought to dismantle the male gaze and challenge systemic objectification in creative industries. However, critics argue that such efforts often leaned into temporary trends rather than fundamental progress. Green’s framing of MeToo as a “pause” rather than a lasting shift drew criticism, with some viewing it as an indication of superficial change within the industry.
Pirelli is not alone in navigating this shift. Victoria’s Secret, long criticized for its hyper-sexualized branding, recently attempted a rebranding with inclusive campaigns. However, the lingerie giant ultimately revived its iconic fashion show, showcasing both traditional supermodels like Carla Bruni and transgender and plus-size figures such as Valentina Sampaio and Ashley Graham. Critics, including Vanessa Friedman of The New York Times, described the effort as clumsy, prioritizing fame over genuine body diversity. This broader “post-MeToo creep,” as coined by The Guardian‘s Barbara Ellen, reflects a cultural tension between preserving progressive strides and reclaiming older aesthetics.
Green’s contribution to the Pirelli Calendar notably includes a nude self-portrait, breaking conventional norms by placing the observer in the position of the observed. In his words, his approach “has always been collaborative with the person photographed,” signaling an effort to balance sensuality with respect for individual agency. While this year’s calendar harkens back to its glamorous roots, it simultaneously underscores the ongoing debate within the creative world about how to reconcile past and present in a rapidly shifting cultural landscape.
