For his long -awaited debut as creative director of Tom Ford, Haider Ackermann chose a subtle, atmospheric wink to the origin of the brand – he professionally reconstructed the atmosphere of the shows that were so characteristic of Mr. Ford’s own era -determining presentations. The space was a study in tempting restraint: dimmed lighting, framed by smoked mirrors, covered with benches from the 70s and dressed in the pigeon -gray side. It was a setting steeped in atmosphere and memory – an echo of the decadence that once defined Ford’s vision, but with a calmer goal, a reflection of Ackermann’s more introspective hand.
However, instead of searching Tom Fords legendary archives for literal references – that much -discussed moments of shameless sexuality and nonchalant glamor that made Fords time at Gucci and Yves Saint Laurent to legends – Ackermann seemed more interested in the Esstie van de Vertilleren van de Stilleren. It was less an exercise in nostalgia and more an investigation into how that spirit of indiscriminate luxury, eroticism and self -confidence could now resonate, in an era that is increasingly allergic to open sensuality.
Modern glamor
It is worth remembering that in the years prior to the sale of Tom Ford to Estée Lauder in 2022, the women’s clothing of the brand rarely reached the seismic cultural relevance of Ford’s work at Gucci in the 90s and early 2000s. Precision, grace and poetic tailorership. His task was not only to modernize Ford’s estate, but also to balance the blood -curdling attraction of the brand with the considerable expectations associated with entering the footsteps of one of the most determining provocateurs of the fashion world.
The opening look of the show set the tone: flexible leather, made into flawless cut outerwear and separates for both men and women. These were not the documents inspired by Dominatrix that one would expect from a tribute to the Ford era, but it would soften garments by Ackermann’s hand-tight but portable, refined but with a feeling of convenience. Especially in warm cognac brown, a color that is reminiscent of both the 70s and contemporary luxury, the men’s pants noticed because of their flowing lines, a fresh alternative to the more sharp tailoring of Ford’s own heyday.
Of course, no exploration of Tom Ford’s estate would be complete without evening clothing – a category that Ford in the 90s almost redefined with its flexible, body-conscious Dresses, their deep necklines and bold cut -outs, emblematically for a generation that was not afraid of excesses. Ackermann re -enacted these characteristics, but stripped them with their open eroticism and replaced body -ramping silhouettes with a feeling of flowing draperies and architectural tailoring. An asymmetrical dress in glittering aqua, for example, hugged the body with elegance instead of sticking it. A light yellow dress, wrinkled and with a split on the thigh, hinted to tempted without the challenging look of Ford’s notorious campaigns – those pounding images of naked bodies, including his own, which were just as much part of the brand like the clothing itself.
Where Ackermann’s vision felt particularly progressive, was in his approach to tailoring. Instead of the razor -sharp lines and power shoulders who are synonymous with Fords, Ackermann embraced a softer, almost deconstructed approach – jackets with nonchalant, difficult proportions that felt particularly modern in a cultural moment dominated by Casual Wear. In an era in which the omnipresence of Athleisure has made formal clothing almost subversive, Ackermanns caught in a convincing way for dressing without complications. There was a quiet confidence in letting dust, cut and attitude – a return to elegance that felt both current and timeless.
