PORTS Fall 2025 Ad Campaign

Review of PORTS Fall 2025 Ad Campaign by Creative Director Trends and Culture, Photographer Brett Lloyd, and Director of Photography Carlo Di Blasi with models Victoria Carratier, Oli Lacey, Noa Spoormaker, Einar Andri, and Isabella Chan

For Fall 2025, PORTS turns its gaze to the Scottish Highlands, a landscape where mist, memory, and fabric seem to weave together. Directed by Trends and Culture and lensed by Brett Lloyd, the campaign narrates a story of old friends reunited—an exploration of place as both physical and emotional terrain. “We came back together the way old friends do,” the video reads, and that sentiment lingers across both the still and moving images: nostalgia for a past that feels personal, even if you’ve never set foot on Scottish soil.

The campaign deftly balances cozy interiors with sweeping exteriors. Indoors, firelight flickers on carved mantels and shelves heavy with books, casting models in a warm, academic glow—studying maps, leafing through volumes, and pausing in thoughtful repose. Outdoors, the Highlands loom in their stark quiet: windswept grasses, grey skies, and coats drawn close. The clothing follows suit—wool, tweed, and layered textures in a palette of deep burgundies, checks, and muted neutrals. Each look feels anchored by a sense of continuity, as though these characters have stepped back into wardrobes they’ve always known.

The video reinforces this dialogue of return and renewal. Its cinematic rhythm—the compass laid across a map, a collar adjusted, a coat offered—evokes ritual and companionship. These gestures root the clothes not just in style but in intimacy, emphasizing PORTS’ talent for embedding narrative into form. There is a certain romanticism here: coats and scarves as markers of time, garments as vessels of memory.

What makes the campaign succeed is precisely its ability to evoke longing for a place we may never have been. By emphasizing companionship, quiet study, and the majesty of landscape, PORTS has created imagery that feels timeless rather than seasonal. The academic spin—books, cameras, maps—adds an intellectual gravitas, subtly tying fashion to exploration, knowledge, and the poetics of travel.

If there is a limitation, it may be that the campaign leans into familiar tropes of Highland romanticism: the windswept field, the stone manor, the fireside chair. Yet Brett Lloyd’s photography finds an authenticity in restraint, making these motifs less cliché and more universal. In an era of digital overstimulation, the PORTS Highlands offer not spectacle but stillness.

With Fall 2025, PORTS reminds us that fashion can be both a forward stride and a return—an embrace of continuity, of landscapes that endure, and of friendships, real or imagined, that feel like home.