Tom Ford AW25: Ackermann seduces Paris

In the ’90s, Tom Ford was sexy. Not the bottom-revealing and blatant cleavage-favouring kind of club-sexy we have become accustomed to today, but a more sophisticated and undone approach. Drapery and clever tailoring allowed skin to be covered, and yet a hint of the shape underneath the silky overlay ignited the same sex appeal of a bare-skinned ankle in the Victorian era. Like Halston did two decades before him, Tom Ford owned the ’90s. He revived Gucci, modernised Saint Laurent, and eventually directed a film in which Aaron Taylor-Johnson dramatically goes through the motions on a toilet on his front porch. (Said film also won a Golden Globe and was nominated for an Oscar, but all those awards seem secondary to the visible skid-marks.) Anyways… high fashion.

It’s no secret that the brand Tom Ford, not to be confused with its creatively departed namesake, has struggled over recent years. Estee Lauder acquired the company in November ’22, and ever since, the brand has reported declining sales. Let’s be realistic: for a luxury brand, it is very rarely mentioned in the same breath as Chanel, Gucci, or Louis Vuitton. But how does one go about changing that? What is a somewhat struggling luxury brand to do in a time of economic uncertainty?

Described by Karl Lagerfeld as his ideal successor at Chanel, [Ackermann] is undeniably hot property

In walks Haider Ackermann. Moustache perfectly groomed; blazer perfectly tailored; and martini perfectly dirty.

A Colombian-born French designer living in Paris, Ackermann interned under John Galliano before going on to create his own label in 2001. Described by Karl Lagerfeld as his ideal successor at Chanel, he is undeniably hot property. Remember when the internet went wild over Timothee Chalamet wearing a red silk, backless and be-scarfed shirt to his premiere of the delightfully family-friendly Bones and All? That was Ackermann.

So, it is no wonder that his appointment as the creative director of Tom Ford last September was celebrated in the same way as someone booking a hair appointment with a celebrity hair stylist, one that usually exclusively works with Madonna. You’re full of excitement – eager to see such immense creativity and skill in action – but also a tad nervous and fully prepared to go broke once the card machine is pulled out. (Can you Klarna a cherry red crocodile skin trench coat?).

Aware of what people both expect and truly want from the brand, sexy sleek is back

The freshly debuted Fall ’25 Collection was Ackermann’s first of what I hope to be a tenured stay at the brand. Obviously acutely aware of what people both expect and truly want from the brand, sexy sleek is back. Supple leather evokes the feel of skin-on-skin contact; belting details and leather gloves subtly hint at an American Psycho style of BDSM; and relaxed robes speak to bleary-eyed coffee the morning after the night before. More of a slow-burn One Day type vibe than Ford’s previous slightly carnivorous approach (see piece of evidence number 69- the 1997 Gucci G-string), the collection felt fresh and new whilst still holding true to the identity of the brand.

Sexy, undone, effortless, elegant. But enough about me.

Haider Ackermann’s Tom Ford debut is sure to be celebrated, setting sail for a new era of the brand – both creatively and financially. I, for one, can’t wait to see what he comes up with next.