Tom Ford's first London showing and his return to runway since founding his eponymous womenswear line was nothing short of what one would expect from the king of over the top opulence.
The historic Lancaster House was the perfect backdrop for Ford's exclusive designs and a ripe foil to the unabashed sex appeal that is his signature. Ford is admittedly quite comfortable straddling the boundary of good taste, and it is the delicate balance he strikes between tack and restraint that sets him apart from his competitors in the field. He may have tried to avoid the press these past few years, and rightfully so - fashion has arguably lost much of the allure that comes with privacy - but these are clothes that deserve to be highly publicized.
As much of a departure as his fall show was from previous seasons under his own label (where color was confined to one or two looks and an accessory here and there), it was shockingly reminiscent of some of his more colorful collections for Gucci circa 1999-2000. Tribal patterned bead work and bold floral prints evoked his spring 1999 collection, while astrakhan lamb, leopard, and lace hearkened back to the fall collection of that same year.
the January 2000 VOGUE editorial 'After Hours.' Styled by Grace Coddington and lensed by Mario Testino (one third of the Holy Trinity that also includes Carine Roitfeld, longtime Ford collaborator and current season makeup muse), it features two of the key looks from Gucci's spring 2000 collection.
The collection's accessories also recalled that early aughts bohemian flare, although the super-slim cat eye shades were decidedly more evocative of the previous decade.
Hopefully Ford's renewed runway presence will equate to an increase in editorial appearances as well, as the heavily beaded knee boots and dagger closure pumps in pony and suede would light up any accessories feature and could easily inspire a full spread on their own (I know I'm already dreaming).
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