Discover the secrets of the new Dolce & Gabbana “The One” commercial: from Madonna’s “La Bambola” song to actor Alberto Guerra, we dive into its erotic cinematic story.
The Dolce & Gabbana “The One” commercial, which debuted in January 2026 to celebrate the 20th anniversary of the iconic fragrance, has literally made time stand still. For this landmark occasion, the two famous designers brought together two actors representing different generations of eroticism, a director capable of transforming a sixty-second ad into a high-tension masterpiece of modern seduction, and a song that made everyone want to learn Italian.
The worlds of fashion and advertising stopped to witness the result: Madonna is portrayed as a timeless diva, the chiaroscuro lighting is a clear homage to 1970s neorealist cinema, the director is legendary fashion photographer Mert Alas, and the actor circling Madonna is the new star Alberto Guerra. The soundtrack features Madonna herself singing in Italian, reinterpreting a great classic of Italian songwriting: “La Bambola” by Patty Pravo.
This new “cult object” of the advertising world deserves a deep dive into every aspect. Let’s discover every detail together.
Who is in the Dolce & Gabbana commercial?
The two lead actors in the 2026 Dolce & Gabbana “The One” commercial are two sex symbols from different generations, interacting with a chemistry that suggests they were destined to share the screen. One is Madonna, a global icon of eroticism and rebellion since the 1980s; the other is Cuban actor Alberto Guerra, who recently captured the spotlight in the Netflix series Griselda through his portrayal of Darío Sepúlveda.
The chemistry between the two is electric, serving a specific purpose. Guerra portrays the classic ‘Latin lover’ archetype, but in the Dolce & Gabbana commercial, Madonna completely steals the show. Like a goddess, she commands the undivided attention of the two men vying for her favor.
Mert Alas, the Love Triangle, and 1970s Neorealism
The director is Mert Alas, a contemporary legend of fashion photography. For the 2026 Dolce & Gabbana commercial, he was explicitly inspired by 1970s Italian neorealist cinema: a subtle evolution of the neorealist imagery that made history in the immediate post-war period, where the focus shifted toward themes of forbidden attraction in contrast to the social conventions of the time.
This was a cinema that pushed the aesthetic boundaries of the era. The most famous example is likely Bernardo Bertolucci’s Last Tango in Paris, released in 1972.
Bertolucci often approached sensuality and eroticism in a “scandalous” manner, and the Dolce & Gabbana commercial starring Madonna and Alberto Guerra has reminded many of The Dreamers, his 2003 film that became iconic specifically for its love triangle set in the Paris of 1968. Other references that likely influenced Mert Alas for this campaign include films like L’Innocente by Luchino Visconti (one of the giants of Italian neorealism) and Malizia by Salvatore Samperi, which transformed protagonist Laura Antonelli into an erotic icon of Italian cinema.
From this perspective, the Madonna portrayed by Mert Alas closely resembles the sensual women captured by Visconti during his era of aristocratic decadence: a diva immersed in her surroundings, who still mercilessly attracts the young men around her, leading them into a dangerous game of seduction.
In this scenario of decadence and power, the choice of Alberto Guerra as the male counterpart is anything but accidental. The Cuban actor, fresh from the global success of the Netflix series Griselda, brings a magnetic and ‘raw’ intensity to the commercial that breaks with the standards of the classic perfume ad model. Guerra is not just a face; he is an accomplice whom Madonna herself hand-picked to embody an eroticism that needs no words.
While Madonna represents the authority of the myth, Guerra is its rebellious and modern mirror: a man who doesn’t just observe the diva, but enters her hall of mirrors with a confidence that defies generational differences, making their encounter a true clash of charismatic titans.”
The Dolce & Gabbana Commercial Song: Madonna’s “La Bambola”
As the musical backdrop for this fascinating game of seduction, the Dolce & Gabbana commercial features a cover of an Italian classic: “La Bambola” (The Doll), originally made famous in 1968 by Patty Pravo. For this special occasion, Madonna sings in person and in Italian—the language of her family roots. Her father, Silvio Ciccone, was born in the United States after his parents emigrated from Pacentro, a small village in central Italy.
“La Bambola” is a cornerstone of Italian music history. it was the first massive hit for Patty Pravo, one of the most successful female artists in the history of Italian music. In the lyrics, the singer accuses her partner of “treating her like a doll,” refusing to play the part of a mere object in the relationship.
Here are the lines featured in the commercial, along with their English translation:
Tu mi fai girar
Tu mi fai girar
Come fossi una bambolaYou spin me ’round
You spin me ’round
As if I were a dollPoi mi butti giù
Poi mi butti giù
Come fossi una bambolaThen you throw me down
Then you throw me down
As if I were a dollDa stasera la mia vita
Nelle mani di un ragazzo
No, non la metterò piùFrom tonight on, my life
In the hands of a boy
No, I will no longer place it thereNon ti accorgi quando piango
Quando sono triste e stanca
Tu pensi solo per teYou don’t notice when I cry
When I’m sad and tired
You only think of yourself
Using a song like “La Bambola” within the seductive interplay between Madonna and Alberto Guerra is a powerful reference to Madonna’s own public history. The Italian-American singer has spent decades fighting the music industry to avoid being objectified; her frequent use of erotic imagery has always served as a clear message of autonomy and feminist dignity.
Both in her career and in this Dolce & Gabbana campaign, Madonna is never an “object-woman”: she is the one pulling the strings. In one scene of the commercial, we see her on the bed as she sketches the (naked) man in front of her, demonstrating that the “object” in this story is the man, and she is the one “capturing” him (on paper).
For the version sung by Madonna, “La Bambola” was produced by Stuart Price, the mastermind behind her 2005 album Confessions on a Dance Floor. The two have returned to work together after twenty years, specifically for the 20th anniversary of Dolce & Gabbana’s “The One.”
Madonna Today: the Power of Eroticism and the Mystery of Her Surgical Procedures
The choice of Madonna as a sexy icon in a campaign like Dolce & Gabbana’s brings to mind the singer’s entire public history. Madonna has always written songs that left no doubt about her confidence as a woman and the power of her image. When her persona entered the erotic dimension without filters in the 1990s—with the Sex book and the Erotica album in 1992, followed by the 1993 film Body of Evidence—she was simply using her image as a weapon of rebellion to shock and reclaim female sexual freedom.
Thirty-four years later, Madonna remains a sex symbol in front of Mert Alas’s camera for Dolce & Gabbana. This time, the rebellion lies in still being the object of desire at 67: two young men compete for her attention, hoping to be chosen by the woman who stimulates their deepest desires.
As is increasingly common in recent times, fans have wondered if Madonna’s remarkably youthful appearance is the result of CGI, AI, or simply the outcome of makeup and various aesthetic procedures performed over time.
A quick look at Madonna’s Instagram provides proof that the Italian-American singer truly possesses a surprisingly young look for her age, without the need for digital retouching. Here she is during her vacation in Morocco in December 2025:
There is a degree of secrecy surrounding Madonna’s history of surgical procedures, and no recent official statements exist. However, everyone has noticed a change of course in recent years, with her face appearing more refined and less “artificial.” Industry experts speculate that Madonna has undergone a process of “dissolving” excess fillers, allowing her natural features and bone structure to re-emerge with greater clarity.
The result is a more sculpted look, perfectly in line with the decadent neorealist aesthetic of the Dolce & Gabbana commercial. Combined with masterful makeup and the director’s unique play of light, Madonna once again presents herself as a femme fatale capable of conquering any man, of any age.
Frequently Asked Questions
The commercial stars the legendary pop icon Madonna alongside Cuban actor Alberto Guerra, who gained international fame for his role in the Netflix series Griselda. While a third younger man appears in the narrative as an interloper, his identity was not officially disclosed in the Dolce & Gabbana press release.
The soundtrack is an exclusive cover of “La Bambola” (The Doll), a 1968 Italian pop classic originally performed by Patty Pravo. This 2026 version features Madonna singing in Italian and was produced by her long-time collaborator Stuart Price.
The campaign was directed by the world-renowned fashion photographer Mert Alas. The visual style is a deliberate tribute to 1970s Italian Neorealism, characterized by high-contrast lighting (chiaroscuro) and a gritty, cinematic atmosphere.
No, Generative AI or CGI de-aging was not used. Madonna’s refined and youthful appearance is the result of post-production process, expert cinematic lighting by Mert Alas, and high-end makeup. Recent sightings of the singer in early 2026 confirm her updated, more natural aesthetic.
Alberto Guerra was reportedly hand-picked by Madonna for the role. His casting brings a “raw” and modern intensity to the campaign, serving as a charismatic counterpart to Madonna’s authoritative “Diva” persona.
