Tom Ford S/S 2026 Paris

[hamburgers]

Whenever someone younger cringes at something I consider a cultural institution I remember how I feel about David Bowie and I let it go.

Suzy Menkes and Tim Blanks are also skeptical of this collection so maybe it’s a generational thing.

 

[Phuel]

The whole soundtrack was Bowie btw.
So what we got in the livestream was copyright free.

If that electro pulse was a last minute replacement for the show’s original soundtrack, then that sound producer deserves a raise. Sometimes music is not the best to accompany the visuals (especially bops of the moment). Dries' or A.F. Vandevorst’s presentations that amplifies the echoes of the stacked heels against hardwood floors of a long hall was eternally more unsettling, more atmospheric, and more hauntingly memorable than any piece of music could have done.

(You know, I’d never thought Mona was capable of such a presence on the runway. And so effortlessly poised, graceful and womanly. She’s a beautiful woman of course, just usually so juvenile. But here, when she gives a soft smiles, that is a moment that ignites the smoulder, the confidence and the sensuality of a renewed Tom Ford woman. And amongst a cast that is so strong, and hitting their mark so precisely, Mona’s warm smirk did it for me.)

 

[GoldenTribe]

Also, just thought of what the soundtrack reminds me of...

One thing I will say for Club Rectum, they are very good about fire safety. There is always an extinguisher on hand when you need it!

(I remember reading when this movie came out that the soundtrack was "spiked with" police sirens designed to elicit nausea.)

 

[visvim2001]

the first few looks are sick. I like the edginess.

 

[Lola701]

If that electro pulse was a last minute replacement for the show’s original soundtrack, then that sound producer deserves a raise. Sometimes music is not the best to accompany the visuals (especially bops of the moment). Dries' or A.F. Vandevorst’s presentations that amplifies the echoes of the stacked heels against hardwood floors of a long hall was eternally more unsettling, more atmospheric, and more hauntingly memorable than any piece of music could have done.

(You know, I’d never thought Mona was capable of such a presence on the runway. And so effortlessly poised, graceful and womanly. She’s a beautiful woman of course, just usually so juvenile. But here, when she gives a soft smiles, that is a moment that ignites the smoulder, the confidence and the sensuality of a renewed Tom Ford woman. And amongst a cast that is so strong, and hitting their mark so precisely, Mona’s warm smirk did it for me.)

He used Bowie the same way that he used Nick Cave in his debut show.
Just the sound of his voice during the entire show and the whole song for the finale.
But indeed quite well executed.

I mean, Haider with Tom Ford is showing his ability to be a full creative director. He is taking baby steps but he is taking the right steps. We saw what wanting to scream loud gave at Valentino.

 

[Phuel]

^^^ So it was “Heroes”: Imagine this show with his rendition of “Wild Is The Wind” (while Tom himself would have used Johnny Mathis' original for his Gucci), I’d be a swooning mess on the floor. Nick Cave was wondrously utilized for Haider's debut— like this ascension of the spirit from the earthbound to the transcendent. And I adore Bowie, but I like this throbbing pulse so much for the collection. Sometimes, words are so unnecessary, even useless.

I’m completely seduced by the presentations and the RTW offerings two collections in— no need to burn slow, just keep burning surely. I only covet an item or two, and I’m good. Haider’s Tom Ford is that fashion equivalent of my the man I’ve been holding out for-- for a long long time, and I’m invested in the relationship. I don’t need anyone else.