2010 Fifi Award – Tom Ford Win Twice

Fifi awards 2010

The Fragrance Foundation Fifi Awards were handed out in a gala ceremony in New York City on June 10th at The Downtown Armory. The Fifi Awards are considered to be the most prestigious awards in the industry and are frequently described as the “Oscars of the fragrance industry”.

– Unique Boutique Men’s & Women’s (sold in 50 or fewer doors): Tom Ford Private Blend White Suede

– Men’s Luxe (sold in over 250 doors): Tom Ford Grey Vetiver

Big nights for Tom Ford and Laurice Rahme’s Bond No. 9 as they both take home two Fifi’s.

Source : Cafleurebon.com

Tom Ford wins again

TOM FORD is to be honoured by the Herve Leger Sale Savannah College of Art and Design. The ex-creative director of Gucci and YSL Rive Gauche will collect the Andre Leon Talley Lifetime Achievement Award, which has previously been bestowed upon Oscar de la Renta, Karl Lagerfeld and Miuccia Prada, from the US Vogue editor-at-large himself on May 20. The Georgia college, which holds a highly Herve Leger Wedding Dress publicized fashion Herve Leger Dresses on Sale show each year has also awarded Diane Von Furstenberg with an honorary degree and Zac Posen with the Andre Leon Talley New Look Award in the past. According to WWD, this year it plans to provide a live webcast of the show for Ford fans to see all the action.

Source : Linksofuklondon.com

Tom Ford and Christoph Waltz

Tom Ford and Christoph Waltz

Two winners. Tom Ford and Christoph Waltz walked through Heathrow airport together after the BAFTA awards in London. Both have been regulars at all the award shows. As usual, Christoph won the supporting actor award for “Inglourious Basterds,” and  Colin Firth won the leading man award for the movie “A Single Man,” which Tom directed.

Source : Janetcharltonshollywood.com

The 2010 FiFi Awards: The Finalists

The 2010 FiFi Awards finalists are narrowed down to five for each category. Consumer voting shall commence on April 28. As we await the winners, let’s explore once again the candidates for this year’s Oscars of the perfumery.

Starting with the men’s luxe fragrances, the finalists are: Calvin Klein CK Free, D&G Fragrance Anthology, Givenchy Play, Diesel Only The Brave, Shiseido Zen for Men and Tom Ford Grey Vetiver. Certainly, these fragrances deserve recognition as they have captured the attention of many: the creativity that produced the fragrance and likewise, the marketing virtuoso behind each campaign.

Tom Ford Grey Vetiver

Tom Ford Grey Vetiver

A masterful take on vetiver married with salty notes, citrus essence, sunny and woody accords. Tom Ford Grey Vetiver is unabashedly masculine. The combination of amber-y woods and the cigar smoke-like aroma is addictive. Comparable to Guerlain’s Vetiver but Tom Ford is sharper and less herbal.

Source : Perfumefan.wordpress.com

Hello boys! Tom Ford & Colin Firth

Without question the best-dressed premiere of the festival so far. Fashion designer turned filmaker Tom Ford  attended the premiere of his forthcoming film A Single Man.

Based on the book by Christopher Isherwood, set in the mid-sixties, it sees Colin Firth play an English professor mourning the sudden death of his partner, played by Matthew Goode. Firth has already picked up the award for Best Actor in Venice earlier this year for his performance, and we’re pretty certain the film will continue to pick up awards before it’s released here in the UK on february 2010.

Source: Festival.blog.lovefilm.com By Helen Cowley

Tom Ford vs. Karl Lagerfeld: Which Home Do You Like Better?

Seems like there’s a lot of buzz surrounding the high fashion industry these days…after all, it is certainly not every day that the Bobbed One appears on Letterman. And now we hear that Tom Ford has put his London townhouse for sale a cool £8 million (about $13 million to us on this side of the pond). After perusing the photos of his chrome-plated pad, we began a friendly debate in the office about which home we preferred: Tom Ford…or the legend of Chanel, Karl Lagerfeld? Decisions, decisions…

Tom Ford vs. Karl Lagerfeld

To be honest, it’s not too much of a struggle for us: Karl Lagerfeld is such an oddity (and we mean that in the best, most fascinating way possible). Can you imagine having a conversation with him? No, we can’t either. (Well, yes we can, and we hope it would be something like this). But we do like how his library matches his persona: excessive, shiny, but with personality:

Karl Lagerfeld

Karl Lagerfeld

As for Tom Ford’s place, it’s certainly impressive. And it has chrome walls, which seems pretty swanky; but at the same time, it could give someone the feeling of being trapped in a commercial grade refrigerator or an air vent:

Tom Ford’s home

Tom Ford’s home

Tom Ford’s home

Tom Ford’s home

What say you?

Source: Apartmenttherapy.com, Images: Aylesford via Mashkulture.net, Maison-Objet, PrestigeHK

Tom Ford’s “Single Man” vies for Queer Lion

Tom Ford“A Single Man,” the directorial debut of fashion designer Tom Ford, will head a record 14 films in the third edition of the Queer Lion awards at the Venice Film Festival.

The Queer Lion prize selects the best film with a gay plot or subplot screening at the festival or in one of its sidebars. Ford’s story of an academic struggling with the loss of his partner is the only Queer Lion candidate that’s also in the main 24-film lineup.

Other selections include “Io sono l’amore” (I Am Love), a drama from Luca Guadagnino screening in the Horizons sidebar; Stefani Consiglio’s “L’amore e basta” (Love Is Enough) from the Venice Days sidebar; and Claudio Noce’s “Good Morning Aman,” from the Critics’ Week sidebar.

Queer Lion organizers also announced the jury that will evaluate the 14 films in the running for the prize. It will be headed by film directors Gustav Hofer and Luca Ragazzi, with participation from journalist Mark Smith, film critic Roberto Schinardi and director Peter Marcias.

The sidebar will be held concurrently with the 66th edition of the Venice festival, which runs September 2-12. The winner will be announced on the fest’s second-to-last day.

Source: Tchadmag.com

Tom Ford Film To Premiere in Venice.

Tom Ford Film To Premiere in VeniceFORD TO VENICE: Tom Ford’s movie, “A Single Man,” starring Colin Firth, Julianne Moore, Matthew Goode and Nicholas Hoult, will have its world premiere at the Venice Film Festival on Sept. 11. It is slated to be the final film screened in the main competition. Ford directed the movie, based on the novel of the same name by Christopher Isherwood, as well as coproduced and cowrote the adaptation. Set in Los Angeles in 1962 at the height of the Cuban missile crisis, it is the story of a British college professor struggling after the death of his longtime partner. “The story is a romantic tale of love interrupted, the isolation that is an inherent part of the human condition, and ultimately the importance of the seemingly smaller moments in life,” said Ford’s production company, Fade to Black. Ford said the selection by the prestigious festival was “a great honor.”

Source: Wwd.com     Photo: Fashion156.com

Tom Ford to Unveil Filmmaking Debut in Venice

Tom FordYes, that Tom Ford — the ex-Gucci captain, Keira Knightley-nuzzler and now writer-director whose A Single Man will have its world premiere (in competition, no less) at next month’s Venice Film Festival. Ford adapted Christopher Isherwood’s acclaimed novel about an English college professor (played by Colin Firth) who quietly attempts to go about his business unaffected after his partner’s sudden death; Julianne Moore, Ginnifer Goodwin and Matthew Goode co-star. Among Ford’s peers also chasing the festival’s Golden Lion? Just some schlubs named Werner Herzog, Michael Moore, Jacques Rivette, Giuseppe Tornatore, Todd Solondz and John Hillcoat, whose The Road will also have its long-awaited debut.

Source: Written by S.T. VanAirsdale on Movieline.com

Tom Ford Goes Out With a Roar

One of the greatest rides in fashion history ended Wednesday night as Tom Ford, a gardenia in his lapel, came down the runway at Gucci, stopped to kiss his companion and walked the rest of the way alone as a thousand people rose to their feet and cheered.

In less than a decade as creative director, the American-born Mr. Ford transformed Gucci, a moribund Italian label, into a coveted symbol of sex and glamour, reaching worldwide sales of $1.5 billion a year. But in a decision in November that will probably be debated for years to come, executives at Pinault-Printemps-Redoute, Gucci’s parent company, chose to let Mr. Ford and his business partner, Domenico De Sole, go, saying the Gucci brand was bigger than the designer.

Well, tonight Mr. Ford begged to differ.

In one of the classiest presentations of his career, Mr. Ford showed them how it was done. This was big-time fashion. From the first exit to the last, there wasn’t an outfit that looked wrong, a hair out of place. The clothes reflected not only the high points of his career, but also his ability to project an idea beyond the small, limited world of fashion.

Minutes before the show started, as the models were lining up backstage, Mr. Ford said: ”I feel really sad, but I’m happy to say I love this collection. I wanted to go back and revisit certain elements at Gucci but also to think about why I had wanted to be a fashion designer — what were the iconic moments of my life?”

To a soundtrack of love songs, including a remix of ”Killing Me Softly,” Mr. Ford sent out lush fur jackets over slim, shiny skirts pinched and pleated across the fanny. The palette was the Gucci palette: graphic black and white, pale pink, the indecent shock of electric blue and livid green. Mr. Ford skipped the daytime clothes, unless your idea of day wear is a dark purple suit in stretch taffeta crisscrossed with bondage seam work or a lunar white coat with a black fox pelt draped around the collar.

The nighttime world is what Mr. Ford understands best — that sense, so implicit in necklines plunging toward the navel or in the way a piece of black chiffon pulls tautly over the shoulders, that anything might happen if the lights are low and the mood is right. The gift of all great designers is to be able to translate emotions into clothes. The particular gift of Mr. Ford was to recognize in the mid-1990’s that those emotions — whether for love or seduction or hedonism — could change rapidly, and to seize on them.

People talk about Tom Ford’s ”vision,” as if it were something that comes along every day. But it comes to only a few individuals in this business. People forget that Gucci was a leather-goods house when Mr. Ford arrived in 1990 — and practically a bankrupt one. But he gave Gucci fashion, and then he gave the fashion, through his marketing and advertising skills, meaning.

If there was one thing this immaculate show made loud and clear, it was that Mr. Ford is, to the last, a designer. (On March 7 in Paris, he will present his final collection for Yves Saint Laurent, the second label he designs.)

As he strode down the runway here and the ceiling opened up with rose petals, the crowd along the front row edged forward. Then about half the people in the audience followed him toward the backstage area. It seemed that everyone was aware of what had just transpired in that room.

”He took the whole house with him!” said Michael Roberts, the fashion editor of The New Yorker. ”Lock, stock and barrel.”

”It was spectacular,” said Burt Tansky, the chief executive of Neiman Marcus. ”Of course it bothers us that he’s leaving. As one of Gucci’s biggest clients, we’re very sad. But what a fantastic way to go out.”

”What I admire about this show,” said Elizabeth Saltzman, the fashion director of Vanity Fair and a close friend of Mr. Ford’s, ”is that it wasn’t overly dramatic or emotional. He didn’t shove humble pie in anyone’s face.” She smiled. ”He just let us all know what we’re going to miss.”

The Gucci show didn’t overshadow the other strong collections of the day, notably by MaxMara and Pucci. Laura Lusuardi and her design team at MaxMara cut the fashion mustard with a refreshing silhouette based on full skirts in wool that fell just below the knees. Shown with saddle oxfords on a stacked heel, the skirts, including a pumpkin-colored one worn with a tight, diagonally fastened beige wool jacket, looked as chic as can be — and not at all encumbered by reference or trend. Rare this season.

Christian Lacroix insisted after his show for Pucci that he really had not put more of himself into the collection, but he was being modest. For the first time since he took over the designs of Pucci, Mr. Lacroix came up with the right modern blend of Paris and Mitteleuropa with a dash of those Italian prints thrown in.

A couple of thoughts came to mind as Mr. Lacroix showed cropped trousers, sturdy coats and vests and slim wrap dresses worked in combinations of gray tweed and somber geometric prints. One is that the world doesn’t need more jet set fabulosity. It wants easyJet. Get me there and shut up. The other is that people can’t take too much more change. They’re already so hyped that they’re not paying attention anyway.

Mr. Lacroix spoke about wanting to give women clothes they could wear to work. That’s a rather mundane way of saying they want something authentic. Both MaxMara and Pucci had that quality in common.

As Mr. Lacroix said, ”It’s a sense of eccentricity that’s more straight, stronger.”

Source: Nytimes.com By CATHY HORYN