There is an hour in every Italian town when the light goes soft and the street becomes a theatre. Cafés fill and people step out without any particular destination—simply just to be seen arriving. In this creative from Fatima Khan, we imagine Kendall Jenner embarking on La Passeggiata: the evening stroll—a performance understood by everyone in Italy, but explained to no one.

It is this ritual, transplanted to Los Angeles, that becomes Jenner’s stage. For one of the most famous women in the world, Khan decided to shape the first scene around Jenner’s glamour and confidence in the public eye. The complete narrative of La Passeggiata nods to the visual language of 1960s Italian cinema: Monica Vitti in L’avventura (1960), observed provocatively by a group of men during her own evening stroll. Khan also looked at Federico Fellini’s 8 1⁄2 (1963) and Michelangelo Antonioni’s Red Desert (1964) for inspiration; the women of the 1960s—Agnes Varda’s Cleo from 5 to 7 and Delphine Seyrig in Last Year at Marienbad (1961)— are insouciant and mysterious. Bottega Veneta were the perfect house to dress Jenner and capture this spirit (along with specially-procured vintage pieces).

We find Jenner again beside a male figure—her manager—who keeps up with her in a busy street, talking to her animatedly, about the next “big idea”. The energy is restless, until we are moved to a new scene: Jenner stands over a grave in widow’s attire, where she mournfully drops a rose. For both of these moments, Khan looked to the work of photographer Bruce Gilden for inspiration. The story takes a turn as a noticeably more confident Jenner struts into frame through a street.

The fifth scene, Reflections, finally sees Jenner in solitude, watching herself this time in the mirror. The shoot places us in a more intimate setting, as we turn into voyeurs. Again, we are asked to keep looking. To continue searching.

Jenner’s character in La Passeggiata is much happier alone, or in the comfort of women. The final image, which features on the issue’s cover, is The Fitting. Khan brings us to an Italian-style atelier—a small, but meaningful ode to craft and quality. The women—artists—see their creativity expressed in Jenner’s outfit. They look on. This time, and unlike the men, their eyes betray admiration for the woman in front of them.

This cast of extras—the manager, the waiter, the businessmen, the mourners, the photographers—function less as characters than as architecture, with us observing her. They are the walls of the theatre she walks through. Their job is not to interact with her so much as to look at her, because looking is the entire subject of this story. Jenner has spent close to two decades as one of the most photographed women alive; here, Khan chooses not to sidestep her reality but apply a different stage.

That tension finds its clearest expression in the film’s closing voiceover, delivered by Jenner herself: “Because movement leaves room for mystery.” It is the thesis of the whole editorial in six words. A passeggiata looks like the simplest gesture there is, and yet it is never neutral. Jenner’s stroll through this constructed narrative becomes a meditation on the gap between being looked at and being understood—a gap she has occupied publicly for most of her adult life. The camera follows her the way a city follows anyone it has decided to watch. Jenner keeps walking anyway.

Stay tuned to the A Rabbit’s Foot website next week, where we’ll be premiering our special editorial film featuring Jenner. In the meantime, enjoy the journey of La Passeggiata.

– Fatima Khan, Creative Director, A Rabbit’s Foot 

As an outsider, I’ve always been captivated by cinema. Especially the extraordinary amount of collaboration it takes to create stories that remain with you for a long time. From being a little girl and rushing home to watch movies, to now, as someone who hasn’’t seen them all but is inspired to try. I think everyone should watch Eternal Sunshine of the Spotless Mind (2004) at least once. And Magnolia (1999) by Paul Thomas Anderson is a film that really stays with me…

My internal monologue sometimes sounds like a line from the movies. There are two in particular. One is from Moulin Rouge! (2001)— the final line spoken by Ewan McGregor’s character Christian: “The greatest thing you’ll ever learn is just to love and be loved in return.” Another is: “I’m not lonely. I’m alone…”

Fame has really taught me to protect and value my privacy. Sometimes I’ll take a walk through nature to feel anonymous again. When
it comes to the “gaze”, the one I’m really happiest with is my own—I just want to be happy with myself.

Celebrity today feels constant. There’s very little space between what’s public and what’s personal. That is the difference between being looked at and really being understood. Obviously, being looked at is when someone sees you. Being understood is when someone sees into you—who you are. Being recognised doesn’t necessarily mean people actually know who you are; the person. That’s a big misconception.

What do people most misunderstand about me? How much time do we have? Short answer: my sensitivity. Life is actually really long—it pays to be kind.

I tend to be pretty hard on myself. The best piece of advice I received was to allow myself grace through everything that comes in life. We are all just doing our best, having a human experience. Everything is going to land where it’s meant to. My loved ones remind me of this constantly.

The best style is effortless. Slim Keith is an example of that. I grew up around fashion. My mom has always been so stylish and loved dressing me up like a little doll. I remember receiving my first Prada bag at a very young age. It was no bigger than a make-up compact,and I still have it to this day.

The photography in the editorial was shot by Rasmus Weng Karlsen, with production direction by Anna Pierce. The accompanying film, La Passeggiata (2026), was written and directed by Fatima Khan, from her original treatment. Khan worked closely with Director of Photography Matilda Montgomery, Production Designer Helen Morales and Lighting Director Jonathan McCormack to translate the visual language of the editorial into the moving image. The film also brought together a wider creative team behind the story, including stylists Alexandra & Mackenzie Grandquist, Hair Stylist Gregory Russell and Make-up Artist Ariel Tejada, with graphic design and title treatment by Broad Peak Studio.