This post was updated Oct. 5 at 8:50 p.m.

Sydney Sweeney has great ads. Or does she?

American Eagle’s fall 2025 campaign, headlined by the actress, used the tagline “Sydney Sweeney Has Great Jeans” to promote its denim clothing, making a pun about Sweeney’s biological genes. In the advertisements, the camera focuses extensively on her legs, chest and butt, with the actress suggestively posing and speaking, explicitly drawing attention to her sexuality.

Reminiscent of Brooke Shields’ 1980 Calvin Klein campaign, the ad attempted to be both clever and provocative. When Shields famously declared, “You want to know what comes in between me and my Calvins? Nothing,” outrage erupted. Critics saw it as suggestive, even exploitative, with Shields being only 15 years old at the time. However, as history shows, the controversy did not deter Calvin Klein, and the campaign cemented itself as one of the brand’s most iconic ads.

While both ads played with innuendo and pushed sexual boundaries, Shields’ campaign thrived in an era where provocation itself was a marketing strategy. American Eagle’s attempt to revive that formula landed in a digital ecosystem where every slogan is dissected for social, political and cultural implications. What might once, with Shields, have worked as cheeky wordplay is now filtered through conversations about race, privilege and representation.

The difference in reception becomes even clearer when looking at the reaction to KATSEYE’s recent collaboration with Gap. The international girl group’s denim campaign was praised for its creativity, authenticity and celebration of individuality. Rather than leaning on suggestive wordplay, the ad highlighted energy and personal style with the group dancing throughout the advertisement while wearing denim outfits.

So why was KATSEYE’s ad celebrated while Sweeney’s became a PR nightmare? Part of the answer lies in tone. KATSEYE’s Gap ad framed denim as empowering and playful, emphasizing movement, confidence and community. It was less about being alluring and more about joy, something that seemed to resonate with viewers in an internet era where audiences are trained to be skeptical of sensational ads.

American Eagle’s Sweeney campaign leaned on a joke that invited audiences to focus on the actress’ body rather than the product. However, consumers today, particularly younger ones, are more conscious of the brands they are interacting with. They do not want to simply be entertained – they want to feel that a campaign reflects values they can get behind.

Looking across decades of denim advertising, from Shields to Sweeney to KATSEYE, a pattern emerges. Celebrity campaigns succeed when they do more than generate buzz – they have to capture a cultural mood. Shields embodied rebellious swag at a moment when jeans were still tied to counterculture. KATSEYE’s ad tapped into contemporary desires for individuality and inclusivity, making denim feel like a shared experience rather than a symbol. Sweeney’s campaign missed that mark, reaching back to an older playbook of shock and innuendo that no longer aligns with how audiences connect with brands.

The discourse around these ads reflects how much the culture around celebrity advertisements has shifted. What once could be sold on sex appeal alone now has to account for context, audience and timing. These two recent jeans ads show how easily tone can tip a modern campaign from clever to clumsy, and how brands risk alienating audiences if their humor does not evolve with the times.

These advertisements serve as a reminder that denim may be timeless, but the strategies to sell it can quickly feel dated.