Happiness is to be found when in pursuit of it, in the soothed expectation, on the way, not only upon the arrival. Accepting detours, just going the way, which is anyhow not this obvious to anyone.
Thomas Bettinelli



Happiness is just a hairflip away.
Chris Crocker

A NEW CLIP EVERY WEEK HERE

"The way the system works now, you see the clothes, within an hour or so they're online, the world sees them. They don't get to a store for six months. The next week, young celebrity girls are wearing them on red carpets. They're in every magazine. The customer is bored with those clothes by the time they get to the store. They're overexposed, you're tired of them, they've lost their freshness".
Tom Ford
















1.25.2016

Tom Ford

Before people even got to see the clothes at his bi-annual LC:M presentation in London, it was clear changes were already afoot. As you may know, Tom Ford doesn't allow photography. Rather, he talks editors through the pieces as a series of impossibly handsome male models stroll around a giant round table heaving with flowers, with racks of his wares in eye-popping colors lining the dusky grey walls. This time that was all gone. No clothes, no high-shine walnut clothes cabinets, no flowers. Instead you could find a large whitewashed space with two huge softboxes lighting up a curved white backdrop -like stepping onto the most minimal of photoshoots. "Every season we've tried to keep the presentation secret and every year photos end up leaking out of it", the designer said, back to his former self and dressed in a black jacket with the collar popped up, a black scarf, white shirt, black trousers and an impressive tan. "So we gave up and designed a studio for you !" With the photo ban officially lifted the show kicked off; a race through all the looks in three minutes.
Tom Ford wears two hats : designer and director. There he managed to fit them both on his head at the same time by staging a lean, mean, Sixties-styled menswear moment under the unblinking glare of two klieg lights that would have done any soundstage proud. Mr Ford claimed that what we were seeing was a tight edit, "only the things that are most directional", and the presentation moved at an amphetaminized pace that suited the narrow silhouette, white shirts and black ties, Crombies, duffels, and other wardrobe staples of a young urban blade. In fact, the boys could have stepped straight out of the pages of "Goodbye Baby & Amen", his friend David Bailey's classic paean to London at its mid-Sixties cool-to-coldest. The popular perception of Mr Ford's menswear is that he is a sartorial pet of the one percent, the tailor of choice for hedge funders. He's recently been bucking that preconception by focusing on sportswear, but here he mixed the two : suits and sportswear, houndstooth and leather, eveningwear and trainers. The attitude skewed younger than before, as young as all-American denim drainpipes, and the collection was all the more vibe-tastic because of it. His velvet jackets, for instance -luscious signature pieces- were reconfigured in op art monochrome. Tom Ford stated that reinventing eveningwear is a real challenge for him. Sexy and severe felt like a desirable design direction. Two hats, one head.

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