Doja Cat’s latest music video for “Gorgeous” reads like a luxury makeup commercial that knows exactly what it’s selling.
Shot by Bardia Zeinali in New York City, the visual features an impressive roster of models including Alex Consani, Irina Shayk, Paloma Elsesser, Yseult, Amelia Gray, Anok Yai, Ugbad, and Alek Wek.
The result feels deliberately crafted to evoke those glossy 80s beauty campaigns, complete with Doja as both the product and the spokesperson.
The song itself, from her new album “Vie (meaning “life” in French), tackles the complicated relationship between beauty, attention, and self-worth.
“If they wasn’t grillin’ before, they gon’ be really mad when we hit the floor,” Doja sings over production credits that include Jack Antonoff, George Daniel, Sounwave, and others.
“It’s a crime to be gorgeous… Between you and a million phones, they takin’ pictures like we hittin’ a pose.”
What makes “Gorgeous” work is how it acknowledges the performance of beauty without completely rejecting it.
The verses dig into the machinery behind the glamour: cosmetic procedures, toxic friendships, the endless cycle of validation through social media. But rather than moralizing, Doja presents it as simply part of the landscape.
“We make a killing being so beautiful,” she notes, treating gorgeousness as both an asset and burden.
The track’s softer moments provide the real insight. “Even when we sit in the dark, I feel the prettiest that you ever saw,” suggests that authentic beauty exists separate from public consumption.
It’s a small rebellion against the constant documentation of self, finding value in private moments away from the million phones.
Musically, “Gorgeous” fits comfortably within Vie’s more romantic and pop-forward direction. Doja has described this album as exploring “not only my own sexuality, but his,” marking a shift toward vulnerability and relationship dynamics.
The production maintains enough edge to remind listeners of her rap credentials while embracing the melodic accessibility that has made her a crossover star.
The timing feels intentional. As Doja continues to navigate criticism about her album’s visual direction (fans questioned the parachute imagery on the Vie cover after months of 80s aesthetics), “Gorgeous” doubles down on the beauty commercial concept.
The video’s supermodel casting and retro styling create a cohesive world where looking good is both the point and the problem.
Vie also features collaborations with SZA on “Take Me Dancing” among its 15 tracks, but “Gorgeous” stands as perhaps the clearest statement of intent.
It’s pop music that understands its own artifice, beauty culture commentary that doesn’t shy away from participating in what it critiques. In Doja’s hands, that contradiction becomes the entire appeal.
The video has already sparked conversations about representation in beauty advertising and the role of social media in shaping self-image.
But beyond the cultural commentary, “Gorgeous” succeeds as pure entertainment: catchy, visually striking, and confident enough to let viewers decide what they’re really buying.