Tom Ford S/S 2015
Tom Ford S/S 2015
As the reconfigured Robert Palmer anthem Addicted to Love blasted over Tom Ford's smooth, salon speaker system, it was clear that we were in for a date with overtly sensual, rock 'n' roll high priestesses. The American designer may have sighted references from his own 1990s back catalogue as the season's lynchpin - indeed the bra cups and black mesh were classic Ford-era Gucci - but the Lurex flares, baby doll dresses and stretch sequins surely strode right out of a Seventies discotheque. Either way, Ford's jewelled 'pasty' flowers were obviously a contemporary addition. Striding six foot plus in their platformed clogs, spiky shag crops and kohl-rimmed eyes, these models were calling out for a stage, as their long chiffon choker scarves trailed behind. And if not for their gold leather chain embroidery dresses, then certainly for their camouflage jacquard boot cut jeans. This was not a season for the shy or even slightly self-conscious. Ford's tee-shirts were more akin to bodysuits, his evening wear - inspired by Carlo Mollino's provocative photographs - equaling sequinned bands or harness bras floating on stretch tulle. Instead, this was a collection for the beautiful and the damned.
Photography: Jason Lloyd-Evans
As the reconfigured Robert Palmer anthem Addicted to Love blasted over Tom Ford's smooth, salon speaker system, it was clear that we were in for a date with overtly sensual, rock 'n' roll high priestesses. The American designer may have sighted references from his own 1990s back catalogue as the season's lynchpin - indeed the bra cups and black mesh were classic Ford-era Gucci - but the Lurex flares, baby doll dresses and stretch sequins surely strode right out of a Seventies discotheque. Either way, Ford's jewelled 'pasty' flowers were obviously a contemporary addition. Striding six foot plus in their platformed clogs, spiky shag crops and kohl-rimmed eyes, these models were calling out for a stage, as their long chiffon choker scarves trailed behind. And if not for their gold leather chain embroidery dresses, then certainly for their camouflage jacquard boot cut jeans. This was not a season for the shy or even slightly self-conscious. Ford's tee-shirts were more akin to bodysuits, his evening wear - inspired by Carlo Mollino's provocative photographs - equaling sequinned bands or harness bras floating on stretch tulle. Instead, this was a collection for the beautiful and the damned.
Photography: Jason Lloyd-Evans
As the reconfigured Robert Palmer anthem Addicted to Love blasted over Tom Ford's smooth, salon speaker system, it was clear that we were in for a date with overtly sensual, rock 'n' roll high priestesses. The American designer may have sighted references from his own 1990s back catalogue as the season's lynchpin - indeed the bra cups and black mesh were classic Ford-era Gucci - but the Lurex flares, baby doll dresses and stretch sequins surely strode right out of a Seventies discotheque. Either way, Ford's jewelled 'pasty' flowers were obviously a contemporary addition. Striding six foot plus in their platformed clogs, spiky shag crops and kohl-rimmed eyes, these models were calling out for a stage, as their long chiffon choker scarves trailed behind. And if not for their gold leather chain embroidery dresses, then certainly for their camouflage jacquard boot cut jeans. This was not a season for the shy or even slightly self-conscious. Ford's tee-shirts were more akin to bodysuits, his evening wear - inspired by Carlo Mollino's provocative photographs - equaling sequinned bands or harness bras floating on stretch tulle. Instead, this was a collection for the beautiful and the damned.
Photography: Jason Lloyd-Evans
As the reconfigured Robert Palmer anthem Addicted to Love blasted over Tom Ford's smooth, salon speaker system, it was clear that we were in for a date with overtly sensual, rock 'n' roll high priestesses. The American designer may have sighted references from his own 1990s back catalogue as the season's lynchpin - indeed the bra cups and black mesh were classic Ford-era Gucci - but the Lurex flares, baby doll dresses and stretch sequins surely strode right out of a Seventies discotheque. Either way, Ford's jewelled 'pasty' flowers were obviously a contemporary addition. Striding six foot plus in their platformed clogs, spiky shag crops and kohl-rimmed eyes, these models were calling out for a stage, as their long chiffon choker scarves trailed behind. And if not for their gold leather chain embroidery dresses, then certainly for their camouflage jacquard boot cut jeans. This was not a season for the shy or even slightly self-conscious. Ford's tee-shirts were more akin to bodysuits, his evening wear - inspired by Carlo Mollino's provocative photographs - equaling sequinned bands or harness bras floating on stretch tulle. Instead, this was a collection for the beautiful and the damned.
Photography: Jason Lloyd-Evans
As the reconfigured Robert Palmer anthem Addicted to Love blasted over Tom Ford's smooth, salon speaker system, it was clear that we were in for a date with overtly sensual, rock 'n' roll high priestesses. The American designer may have sighted references from his own 1990s back catalogue as the season's lynchpin - indeed the bra cups and black mesh were classic Ford-era Gucci - but the Lurex flares, baby doll dresses and stretch sequins surely strode right out of a Seventies discotheque. Either way, Ford's jewelled 'pasty' flowers were obviously a contemporary addition. Striding six foot plus in their platformed clogs, spiky shag crops and kohl-rimmed eyes, these models were calling out for a stage, as their long chiffon choker scarves trailed behind. And if not for their gold leather chain embroidery dresses, then certainly for their camouflage jacquard boot cut jeans. This was not a season for the shy or even slightly self-conscious. Ford's tee-shirts were more akin to bodysuits, his evening wear - inspired by Carlo Mollino's provocative photographs - equaling sequinned bands or harness bras floating on stretch tulle. Instead, this was a collection for the beautiful and the damned.
Photography: Jason Lloyd-Evans
As the reconfigured Robert Palmer anthem Addicted to Love blasted over Tom Ford's smooth, salon speaker system, it was clear that we were in for a date with overtly sensual, rock 'n' roll high priestesses. The American designer may have sighted references from his own 1990s back catalogue as the season's lynchpin - indeed the bra cups and black mesh were classic Ford-era Gucci - but the Lurex flares, baby doll dresses and stretch sequins surely strode right out of a Seventies discotheque. Either way, Ford's jewelled 'pasty' flowers were obviously a contemporary addition. Striding six foot plus in their platformed clogs, spiky shag crops and kohl-rimmed eyes, these models were calling out for a stage, as their long chiffon choker scarves trailed behind. And if not for their gold leather chain embroidery dresses, then certainly for their camouflage jacquard boot cut jeans. This was not a season for the shy or even slightly self-conscious. Ford's tee-shirts were more akin to bodysuits, his evening wear - inspired by Carlo Mollino's provocative photographs - equaling sequinned bands or harness bras floating on stretch tulle. Instead, this was a collection for the beautiful and the damned.
Photography: Jason Lloyd-Evans
As the reconfigured Robert Palmer anthem Addicted to Love blasted over Tom Ford's smooth, salon speaker system, it was clear that we were in for a date with overtly sensual, rock 'n' roll high priestesses. The American designer may have sighted references from his own 1990s back catalogue as the season's lynchpin - indeed the bra cups and black mesh were classic Ford-era Gucci - but the Lurex flares, baby doll dresses and stretch sequins surely strode right out of a Seventies discotheque. Either way, Ford's jewelled 'pasty' flowers were obviously a contemporary addition. Striding six foot plus in their platformed clogs, spiky shag crops and kohl-rimmed eyes, these models were calling out for a stage, as their long chiffon choker scarves trailed behind. And if not for their gold leather chain embroidery dresses, then certainly for their camouflage jacquard boot cut jeans. This was not a season for the shy or even slightly self-conscious. Ford's tee-shirts were more akin to bodysuits, his evening wear - inspired by Carlo Mollino's provocative photographs - equaling sequinned bands or harness bras floating on stretch tulle. Instead, this was a collection for the beautiful and the damned.
Photography: Jason Lloyd-Evans
As the reconfigured Robert Palmer anthem Addicted to Love blasted over Tom Ford's smooth, salon speaker system, it was clear that we were in for a date with overtly sensual, rock 'n' roll high priestesses. The American designer may have sighted references from his own 1990s back catalogue as the season's lynchpin - indeed the bra cups and black mesh were classic Ford-era Gucci - but the Lurex flares, baby doll dresses and stretch sequins surely strode right out of a Seventies discotheque. Either way, Ford's jewelled 'pasty' flowers were obviously a contemporary addition. Striding six foot plus in their platformed clogs, spiky shag crops and kohl-rimmed eyes, these models were calling out for a stage, as their long chiffon choker scarves trailed behind. And if not for their gold leather chain embroidery dresses, then certainly for their camouflage jacquard boot cut jeans. This was not a season for the shy or even slightly self-conscious. Ford's tee-shirts were more akin to bodysuits, his evening wear - inspired by Carlo Mollino's provocative photographs - equaling sequinned bands or harness bras floating on stretch tulle. Instead, this was a collection for the beautiful and the damned.
Photography: Jason Lloyd-Evans
As the reconfigured Robert Palmer anthem Addicted to Love blasted over Tom Ford's smooth, salon speaker system, it was clear that we were in for a date with overtly sensual, rock 'n' roll high priestesses. The American designer may have sighted references from his own 1990s back catalogue as the season's lynchpin - indeed the bra cups and black mesh were classic Ford-era Gucci - but the Lurex flares, baby doll dresses and stretch sequins surely strode right out of a Seventies discotheque. Either way, Ford's jewelled 'pasty' flowers were obviously a contemporary addition. Striding six foot plus in their platformed clogs, spiky shag crops and kohl-rimmed eyes, these models were calling out for a stage, as their long chiffon choker scarves trailed behind. And if not for their gold leather chain embroidery dresses, then certainly for their camouflage jacquard boot cut jeans. This was not a season for the shy or even slightly self-conscious. Ford's tee-shirts were more akin to bodysuits, his evening wear - inspired by Carlo Mollino's provocative photographs - equaling sequinned bands or harness bras floating on stretch tulle. Instead, this was a collection for the beautiful and the damned.
Photography: Jason Lloyd-Evans
As the reconfigured Robert Palmer anthem Addicted to Love blasted over Tom Ford's smooth, salon speaker system, it was clear that we were in for a date with overtly sensual, rock 'n' roll high priestesses. The American designer may have sighted references from his own 1990s back catalogue as the season's lynchpin - indeed the bra cups and black mesh were classic Ford-era Gucci - but the Lurex flares, baby doll dresses and stretch sequins surely strode right out of a Seventies discotheque. Either way, Ford's jewelled 'pasty' flowers were obviously a contemporary addition. Striding six foot plus in their platformed clogs, spiky shag crops and kohl-rimmed eyes, these models were calling out for a stage, as their long chiffon choker scarves trailed behind. And if not for their gold leather chain embroidery dresses, then certainly for their camouflage jacquard boot cut jeans. This was not a season for the shy or even slightly self-conscious. Ford's tee-shirts were more akin to bodysuits, his evening wear - inspired by Carlo Mollino's provocative photographs - equaling sequinned bands or harness bras floating on stretch tulle. Instead, this was a collection for the beautiful and the damned.
Photography: Jason Lloyd-Evans
