Balenciaga is using its new On Repeat sneaker campaign to push the next phase of its footwear story, putting the Triple S.2 on the feet of Paris footballer Hugo Ekitike and tying daily routine directly to design and performance.
A new chapter for Triple S
The campaign lands as part of a wider Balenciaga sneaker push built around the Radar and Triple S.2 lines, both created under creative director Pierpaolo Piccioli as evolutions of the brand’s long running sneaker presence. Where the original Triple S helped define oversized luxury runners, the Triple S.2 is pitched as a hybrid, next generation take that combines archetypal athletic references into a more streamlined, performance adjacent silhouette.
Hugo Ekitike on the move
In Ekitike’s film, lensed by Mitch Ryan, the focus is on repetition: stretches, ball work, and off pitch drills that make up a professional player’s day. The sneaker appears as part of that loop rather than a separate fashion object, folding into tracksuits and TechWear looks from Balenciaga’s Fall 2026 offer.
Design, tech, and wearability
Balenciaga describes the Triple S.2 as a hybrid design, next gen sneaker that uses layered athletic cues and a sculpted sole to create a chunky but more agile profile than the original Triple S. The emphasis is less on maximal bulk and more on all day wear, with the shoe shown against training gear, rest day outfits and city backdrops to underline its crossover role.
Routine as the main concept
The On Repeat umbrella frames Ekitike, Katy Perry, and Yao Chen around the same idea: discipline as a series of small, repeated actions. Still photography by Mark Peckmezian and video by Mitch Ryan link sneakers, apparel, and everyday items like water bottles and recovery tools, positioning the Triple S.2 as one of the constants in that routine.
This campaign signals Balenciaga’s move to keep its chunky flagship alive in a slimmer, more performance coded form, and ties it to a new roster of global faces rooted in sport, music, and film rather than pure runway imagery.
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