Haider Ackermann’s sensual and well thought -out approach

The designer Haider Ackermann opted for a subtle, atmospheric allusion to the origins of the brand to the origins of the brand for his most excited debut as creative director of Tom Ford. For this he created an environment that reminded of Ford’s memorable presentations. The room was a mixture of elegance and restraint: steamed illuminated, framed by smoky mirrors, with 70s benches and wrapped in pigeon-gray silk. It was a room full of memory – a quiet reverence to the decadence that shaped Ford’s vision, but with a calmer, more introspective approach, which Akermann’s handwriting was reflected.

Instead of using literal references from Tom Ford’s archives – such as the revealing sexuality and the lascivious glamor that made Fords time at Gucci and Yves Saint Laurent so legendary – Ackermann seemed more interested in reinterpreting Tom Ford’s essentials for a modern audience. It was less about nostalgia, but about how the spirit of luxury, eroticism and self -confidence today, at a time that has less and less sense of obvious sensuality.

Modern glamor

It should be borne in mind that Tom Ford’s women’s fashion rarely achieved cultural relevance in 2022 before selling to Estée Lauder, which Ford’s work at Gucci awarded Gucci in the 90s and 2000s. But Glamor was always the central theme of the brand – a basic idea that Ackermann recognizes, but reinterpreted with his own style. His task was to modernize Ford’s legacy and at the same time to meet the high expectations that are associated with the legacy of such a provocative designer as Ford.

The show’s opening act set the tone: soft leather, which was processed into perfectly cut overhead cladding and individual parts for men and women. These parts were not a dominatrix-inspired piece in the style of Ford, but clothing that became more soft and portable through Ackermann’s hand-elegant, but also comfortable. Especially the men’s pants in warm cognac brown stabbells, as they were fluent and offered a fresh alternative to the sharper art of tailor from Ford’s own designs.

Of course, no examination of Tom Ford’s heir without evening fashion-a category that Ford practically defined in the 90s with its figure-hugging clothes, the deep cutouts and daring cut-outs for a generation, did not shy away from excess. Ackermann took up these signatures, but removed the obvious eroticism and replaced body -hugging silhouettes with flowing fabrics and architectural tailoring.

For example, a one -sided shoulder dress in shimmering aqua played around the body with elegance without carving it. A pale yellow dress, gathered and with a slot on the thigh, indicated at seduction, without imitating the provocative pictures of Ford’s legendary Gucci campaigns.

Ackermann’s vision was particularly forward to the art of tailoring in his approach. Instead of relying on the razor-sharp lines and power shoulders associated with Fords suits, Ackermann chose a softer, almost deconstrenting approach-jackets with flowing, effortless proportions that seem particularly modern at a time that was dominated by casualwear.

In an era in which athleisure makes the formal styling appear almost subversive, arable clerk’s suits argued convincingly for the elegant dressing without complications. It was a silent self -confidence that made it possible for the fabric, the cut and attitude to do the work – a return to the elegance that looked both contemporary and timeless.