Pucci 'Passepartout' Fall 2025 Ad Campaign

Review of Pucci ‘Passepartout’ Fall 2025 Ad Campaign with model Naomi Campbell

Pucci has always been a house of movement—its prints swirling like aerial views of the Amalfi coast, its dresses designed for women who were never meant to sit still. With Passepartout—its Fall 2025 campaign—the maison embraces this nomadic DNA with none other than Naomi Campbell as its compass. Shot through a lens of global sophistication, the campaign becomes both an ode to heritage and a contemporary passport to modern wanderlust. After all, who better to embody timeless transit than fashion’s eternal traveler herself?

The imagery offers a masterclass in mood: Naomi moving seamlessly between sculptural tailoring and fluid silks, her presence commanding yet unforced. The Pucci palette—those distinctive kaleidoscopic prints—emerges against understated backdrops, ensuring the clothes do the speaking. There’s a cinematic undertone here: the idea of boarding a flight at golden hour, Pucci scarf trailing, stepping off in another city, still luminous. It’s less about where she is, and more about the state of mind she carries—ease, confidence, glamour without borders.

At its strongest, the campaign captures the paradox Pucci has long excelled at: dynamism within discipline. Naomi embodies a woman both untethered and perfectly composed, her wardrobe shifting from sleek travel suiting to liquid evening dresses. The concept of Passepartout—literally “master key”—is well-realized in how these clothes transform from day to night, city to shore. Still, one wonders if the set itself might have leaned further into the idea of global travel; while Naomi’s performance provides motion, the scenery sometimes feels pared back to the point of restraint. A more layered visual world could have amplified the story.

Yet there is no denying the power of casting here. Campbell elevates even the simplest silhouette into a gesture of authority. Her mere stride reminds us that Pucci is not chasing trends but charting timeless trajectories. There’s also a clever echo of the house’s jet-set roots: Emilio Pucci once designed uniforms for Braniff Airways in the 1960s. Now, sixty years later, Naomi steps in as the ultimate passenger—though one suspects she’s the pilot, too.

Ultimately, Passepartout succeeds because it doesn’t overcomplicate itself. It trusts its codes, its prints, its muse. Pucci isn’t trying to reinvent the wheel, but to remind us that true style is about continuity—clothes that follow you across time zones, remaining resolutely your own. And in Campbell’s hands, every stamp in the passport becomes an exclamation mark.

Sometimes, the journey is the destination. With Pucci and Naomi, the passport may be passepartout—but the glamour is first class.