Pucci has apparently decided that bedtime is no longer part of the Fall 2026 agenda.
For its latest campaign, Il Palio, the Italian house takes inspiration from one of Siena’s oldest traditions, the Palio horse race, and gives it a considerably more chaotic destination: the dance floor. Under creative director Camille Miceli, the history of Siena’s contrade, with their flags, symbols, horses, and elaborate heraldry, gets stripped of anything remotely museum-like and sent directly into the nightlife.
The result is less historical reenactment and more what if the most glamorous person at the club had somehow wandered out of a Renaissance painting?
Photographed by Carlijn Jacobs, the campaign stars Grace Elizabeth looking like she has been awake for approximately 36 hours and is having an excellent time about it. The images are drenched in red light, metallic curtains, movement, and the kind of hair whipping that suggests someone turned the music up immediately before the shutter went off. They feel less like traditional fashion campaign photographs and more like fragments from a particularly expensive music video.
The clothes understand the assignment.
One of the most memorable looks is a yellow dress covered in black animal-print stripes, pulled in at the waist with a wide belt. The same graphic motif appears again on low-rise pants, bringing a distinctly Y2K sensibility into the collection. It’s playful, sexy, and just a little bit ridiculous in exactly the way Pucci tends to do so well.
Then things get even more committed to the fantasy.
A pink, brown, and black halter dress arrives with a matching graphic eye mask, because apparently sunglasses were simply not dramatic enough. A liquid-looking gold maxi catches the light as Elizabeth moves, while another look pairs a black bra with a loose blazer, sequined trousers, and enormous sunglasses. It is the wardrobe equivalent of saying, Yes, I know this is a lot. That’s why I’m wearing it.
Emmanuelle Alt styles the campaign, balancing the collection’s more sensual elements with its stranger, more surreal impulses. Plunging necklines, gleaming jewelry, metallic finishes, oversized eyewear, and unmistakably Pucci prints all compete for attention without ever really fighting for it. Somehow, the excess is the organizing principle.
And that feels particularly right for Miceli’s Pucci.
The house has never been interested in dressing quietly, but Il Palio pushes that instinct toward something nocturnal. The references to Siena are there, but they aren’t presented as precious historical artifacts. Instead, they become fuel for a collection that seems designed for the hours when everyone else has already gone home.
The Fall 2026 Pucci woman isn’t heading to bed.
She has one more song. And then, obviously, another one.
