Archive for the ‘Socializing’ Category

Tom Ford & Terry Richardson Kiss

zaterdag, december 4th, 2010

Tom Ford & Terry Richardson Kiss While Dressed As Cowboys (2005)

Tom Ford Terry RichardsonBy Antony Miles

French Vogue released images from its Tom Ford–edited December issue, which hits newsstands tomorrow. The features include a Wild West-themed fashion shoot by famed photographer Terry Richardson (and Jarod Leto‘s boyfriend) titled “Pussy West.”

This morning, though, Richardson posted more photos from the spread and a pic showing him and Tom Ford smooching on Ford’s ranch near Santa Fe.

Source :  Socialitelife.com

Tom Ford and Colin Firth at the BAFTA After-Party

donderdag, mei 13th, 2010

Tom Ford and Colin Firth
LONDON, Feb 25, 2010 / FW/ — With Colin Firth winning Best Actor for “A Single Man”, the directorial debut for Tom Ford, the after-party sponsored by Grey Goose at the Soho House caught the attention of the fashion world.

Known to fashionistas as the designer that revitalized Gucci and made the then tired label, the coolest of cool, Tom Ford might have left fashion several years ago but he still casts a long shadow.

That he had started a second career in film making is already amazing; and for his directorial debut to be recognized by the movie world is a phenomenon.

Now… back to the BAFTA After Party…

Set over two floors of Grosvenor House on Park Lane, the Soho House Grey Goose After Party spanned a series of suites and spaces.

This was the first time that this part of the hotel has been used for the official after party – a departure from The Ballroom which has traditionally been used for this event.

Source : Fashionwindows.net

Tom Ford Holds Back

dinsdag, mei 11th, 2010

Tom Ford as DirectorTom Ford says he only shows his true self to a couple of people.

The designer enjoyed directing A Single Man because it gave him the opportunity to pour his deepest feelings into the movie. Although he can be reserved in real life, he found it easier to reveal his emotions when he was making the film.

“There is a real fear when you do that. You really expose yourself, although it is a lot easier to do on screen than it is in real life,” he said. “In real life, I’d only show my true self to a handful of people. Doing it on screen it is supposedly fictional and that’s easier. In real life, if you have one or two people in your life that you truly connect with in a very soulful way, you are lucky.”

In A Single Man, Colin Firth plays a gay university lecturer who is left devastated by the death of his lover. Tom, 48, has previously revealed he poured a lot of himself into Colin’s character.

The movie is set in the 1960s and has been praised for its stunning sets and costumes. Tom admits he is a perfectionist and is obsessed with attention to detail, which has had a negative impact on his personal life. “The quest for perfection has been incredibly useful for me in my professional life, but it is a nightmare in my private life. I torture myself,” he confessed in an interview with Grazia magazine. “When I’m at home I think, ‘Am I a nice guy? Did I say the right thing, was I mean, should I do this?’ It is a nightmare.”

Source : Musicrooms.net

Martha Stewart to host designers Tom Ford, Roberto Cavalli

maandag, december 7th, 2009

Tom Ford on The Martha Stewart Show

Fashionistas, take note: Designers Tom Ford and Roberto Cavalli will appear live on The Martha Stewart Show this week.

On Wednesday, Ford will join Martha in-studio to chat about his new movie, A Single Man. He’s pictured with Julianne Moore, right, at a special screening of the movie at the Museum of Modern Art in New York Sunday

And on Thursday, Roberto Cavalli  will be promoting his clothing line with a fashion show. Cavalli recently contributed to a show in London that featured “pet couture,” including the stylish headgear on the bulldog model, below. Not sure whether Cavalli’s doggie couture will be included on martha’s show, but I rather hope so!

Cavalli’s doggie couture

Source : Blogs.orlandosentinel.com

Madonna with director Tom Ford at ‘A Single Man’ after party in NY

maandag, december 7th, 2009

madonna_a_single_man_after_party_20091206_ny_01_tomford.jpgMadonna wore her big sunglasses and a fur coat to a screening of “A Single Man” in New York Sunday night. he clutched the fur coat around herself on the red carpet and also at the after party, although she lost the sunglasses for the latter. As seen below she was sunglasses-free posing with the film’s director Tom Ford.

Madonna

Source: Huffington Post.

Tom Ford premieres “A Single Man” in Hollywood

vrijdag, november 6th, 2009

 After party at Chateau Marmont

After party at Chateau Marmont

Just another night in Hollywood … film & fashion Illuminati of Los Angeles packed the Chateau post the premiere of Tom Ford’s new film at the Chinese Mann with a reception sponsored by Audi at the Roosevelt where Baskin Robbins ice cream cake.

My date wore herringbone, I donned Ports 1961 (courtesy of The A List). Tom Ford and his friends milled about, cool as cucumbers, and generally fabulous, much like the highly stylized film we saw earlier in the night, which featured stunning composition, gorgeous people, cars, set design looking straight out of a 1960s photo shoot for Vogue. Expect to see every middle class family on the block inexplicably driving a classic Mercedes Benz.

After party at Chateau Marmont

Tom Ford has just dumped the obscure genre of Fashion Film smack into the middle mainstream cinema now and forever. Everyone will want movies to look as stunning, and be as sexy, as “A Single Man.” In this movie – expect to see drop dead gorgeous male models brooding in phone booths, and the like. One scene features a cameo by Tom Ford’s favorite ad models, Jon Kortajarena, who plays a hustler named Carlos.
Guests at the premiere, reception and after party include: Chloë Sevigny, Tom Ford, Nico Golfar, Matt Donnelly, Carly Steel, Andrea Guttag, Miles Fisher, Chiara de Rege, Rita Wilson, Colin Firth, Ginnifer Goodwin, Nicholas Hoult, Nicole Steinwedell, etc.

Source: Thedailytruffle.com

What Tom Ford did next

vrijdag, juni 19th, 2009

After a nasty split from Gucci, the fashion house he turned into a super-brand, Tom Ford has made a film starring Julianne Moore. And no, he says, it won’t be all about sex.Tom Ford and film

Not so long ago, when Tom Ford was planning his funeral — he is very meticulous about everything — he thought that he might like his ’n’ his matching sarcophagi for him and his partner of 23 years, the fashion journalist Richard Buckley. So he asked the architect of his Santa Fe house to draw up some plans. But now he’s thinking maybe no to the sarcophagi and that a more stylish solution might be “simply evaporating”. . .

Anyway, the point is, he’s very comfortable talking about death, which brings us neatly — if I may say so — to all the people who rushed to read the Last Rites over his career after his departure four years ago from that which, I assumed, must not be mentioned (Gucci).“You can imagine what it was like when I left,” he says,seeming totally at ease with the subject. “Even though I could see that the writing was on the wall a good two years before I went. I was suddenly negotiating my contract with people I didn’t know [the billionaire François Pinault's luxury holding company PPR bought Gucci in 1999]. I had nothing lined up. Literally nothing. You don’t when you’re working on 16 collections a year. It was like a divorce. I was bereft. But I’ve done a lot of work on myself and I’m through it.”

Still, it seems tactless to return to Gucci as though it still defines him. Since leaving he has launched perfumes, eyewear and, two years ago, an exceedingly upscale menswear line that he introduced from an exceedingly upscale wood-panelled store on Madison Avenue. He’s also just finished editing his first feature film, A Single Man, with Colin Firth, Julianne Moore, Matthew Goode and Nicholas Hoult, late of Skins, performing a screenplay that Ford himself adapted from Christopher Isherwood’s 1964 novel.

It’s because of the latest perfume, Bois Maroccain, that we’re here in the personal shopping salon at Selfridges in London, as the crowds gather down on the ground floor waiting for him to appear and sign their bottles.

Perhaps he’ll never break completely free from the Gucci legacy. The mass hysteria that his departure provoked in fashion ranks — where Ford’s good-natured, pheromone-sozzled image and imagery had turned him into a sort of George Clooney figurehead — lead, about two years later, to quite a backlash.

He was vilified for having fired the Yves Saint Laurent creative director Alber Elbaz (who is now a star at Lanvin) when the Gucci group bought it in 2000, and installing himself in the position. “But the board weren’t going to approve the sale unless I was at the helm,” he says now.

Then two years ago, when Ford launched his cherished Tom Ford Menswear line, The New York Times slated it and the new store concept — as in, pelted it with boulders the size of meteorites. “You have to laugh,” wrote Horacio Silva. “An unintentionally hilarious parody of a pretentious Madison Avenue boutique, the store reeks of arriviste Anglophile posturing dressed up as gentlemanly refinement.”

Naturally, Ford looks incredulous when I ask him what it was like living through the backlash that began to loom over any conversation about him approximately two years after he left Gucci. “There was a backlash?” he asks innocently. It’s almost plausible, too. This is a man who could sell merkins to a nunnery — and let’s face it, he made a pretty good fist of doing just that in those infamous Gucci ads where the model’s, um, nether topiary was shaved into a G. I should say at this point that Ford’s shirt is unbuttoned only four buttons instead of the usual five, there is a notable lack of prominent chest hair and all in all, he looks comparatively chaste and butter-wouldn’t-melt-in-his-mouth.

Even so, the “What backlash?” shtick isn’t entirely convincing. When I saw him at a party two years ago he launched into an extended, if characteristically amusing rant about certain fashion journalists and their inability to “get” him. “True. And I wasn’t even drunk.”

Thing is, he reads everything. Not just Isherwood and Sartre, but every review. And they niggle him. And it niggles him that they niggle him. Or it did. “I had a mid-life crisis for about seven years,” he says. He’s almost 48 now and wearing ridiculously well. Actually, not ridiculously: the Botox is down to a minimum and although he says he’s 5lb overweight (he ate a lot of doughnuts during filming) he looks uber Tom Fordish. Tom Ford and his motherBut then his mother, Shirley, in her 70s, is still feisty and now has a husband who is 15 years her junior. “She got sick of her husbands dying on her.”

Ford’s business model since leaving Gucci, while unconventional, is a clever one. As he puts it, he worked backwards. “Of course I knew that there were people laughing and saying ha-ha look, he’s doing eyewear now and he used to be the big ‘I am’, but I knew where I was going and it didn’t bother me.”

Most designers slog away building their own brands and then, when their name has sufficient traction in the marketplace, broker lucrative licensing deals so that they can finally make some serious money. Ford, despite never putting his name over the door at Gucci, already had the name. Plus he’s done what few dare — trespassed from fashion into film. That’s brave. Or insane, as he knows. He told Moore, whom he’s dressed for years, that she was sweet do his film. “And she said, ‘I’m not doing it to be sweet. I like the script’. I’m sure she called her agent though to check it wouldn’t be career death.”

Well, the Last Rites-readers should see the hoards of customers who have queued patiently in Selfridges, some for hours, to see him. The men are dressed identically to their hero — black suits with big shoulders, slim waists and narrow sleeves, crisp shirts unbuttoned enough to invite comment and stares, careful lack of tie (they give Ford headaches). His bodyguards and the male models, with their obligatory Fordian deep side partings, are all in black. But so are the women. They’re wearing heels, too — in the middle of a Tube strike.

It would be easy to laugh at the entourage and the blacked-out Bentley in which I saw Ford arrive. I confess that I did have a little fond chuckle, especially when he told me about the lecture he delivered two years ago to his fellow luxury purveyors on the importance of green issues. He is a star in a (fashion) world of diminishing figures. He’s clever and witty and he always laughs at himself. Yes, he got on his private plane after the conference. “But look, if they did hybrid Bentleys I’d be the first to get one.”

The fact that men still want to dress like him and women wish he was still making clothes for them suggests that, verily, the cult of Ford lives on. So much so that his one perfume counter in Selfridges generated £1.5 million last year, more than any other perfume counter in the department store. He hasn’t even been around to plug the perfumes lately, having been sequestered away in Los Angeles since October making A Single Man.

Mind you, placing the bottle of Tom Ford for Men scent between a pair of breasts in the ad campaign probably didn’t hurt sales. It always comes back to sex with Ford. “No it doesn’t,” he says, looking just a teeny bit injured (although under the subtle lighting of the personal shopping salon, it’s hard to be certain). What about the pictures of him in Out magazine, showing him naked in a shower with a bevy of other buff male bodies? “Probably shouldn’t have done those,” he says. Or the Vanity Fair cover that he art directed, of him sandwiched between a naked Scarlett Johansson and a naked Keira Knightley?Tom Ford

“How else are you going to sell perfume to heterosexual men?” he asks, sweetly side-stepping. “Put the bottle where they want to look.” He sighs. “I hate talking about sex.” (News to me. He’s a latter-day compendium of smart-aleck aphorisms on everything from genitalia to how we are all on a sliding, shifting scale of gender bias). “Thing is, people look much better naked. They’re all the same colour and they can’t screw up. You see someone at the gym and they look great. Then they put on their clothes.”

There is precious little overt sex in A Single Man, the film of which we must not talk, but do anyway. Ford would like to make a film every three years. It’s very compatible with designing, as he sees it, because it’s so slow. “And a lot of the processes are the same.” Years of directing ad campaigns and styling shows meant that he knew how to frame a picture. And his years as an actor (“a terrible one. I got about as far as TV commercials”) helped him to understand characterisation. How he resisted interfering with the costumes — it’s set in 1962, for God’s sake — I’ll never know, but he promises that he left Arianne Phillips, the Oscar-nominated costume designer of Walk the Line, to get on with it. Colin Firth is wearing Tom Ford menswear, however. At a minimum of £3,000 for a suit, Firth presumably enjoyed every moment.

Now that Ford is back in London, where his design team is based, he’ll be concentrating on his designer wear for the next year. “What I’m doing with the menswear is the opposite of what we did at Gucci, where we democratised luxury. But it stops being luxury when it’s available in every airport. This is about the highest quality, incremental changes each season and the best service.”

It seems to be on an upwards trajectory, notwithstanding the current economics. One Brit recently ordered 23 suits from the Madison Avenue store and there are more Tom Ford for Men stores popping up around the world like floating champagne corks.

There are still those pesky reviews, however. “Do you know a journalist from L’Official asked me this morning why I thought I had had such a lack of success at YSL and I said, ‘Where did this myth about lack of success at YSL start?’ We were doubling sales each season. Any losses were calculated because we were opening up stores all over the world.” Oh, well. He says the only validation that counts now is his own — and Richard’s. “Unfortunately, Richard hardly ever has anything nice to say about my work. It’s my mother all over again. In psychoanalytic terms, it’s called the horrible familiar.”

He’ll see a lot of horrible familiars in the front row if and when he does womenswear, I say. (Obviously he is going to do womenswear, but he’s being uncharacteristically coy about it). “Hah, that’s just it. I won’t be doing shows. Ever. Again,” he says triumphantly. “I don’t want my designs to be shaped by journalists any more. Do you know why I launched this menswear line? Because I couldn’t find anything to wear. That whole obsession with youth, with new, new, new — it’s giving us clothes no one can wear. As for the business model that I followed at Gucci — the new this, the It that, the let’s get it on a celebrity and shoot her in front of a logo, it was getting old then. Now it’s really old.”

The question is, I suppose, why, with so much critical and commercial success, does he care so much about negative reviews — and why, if they make his stomach churn, as he says they did when he was designing Gucci and YSL, is he launching himself at the mercy of film critics ? “Some things you do for money. Others you do because you have to. It was only when I left Gucci that I realised how much I loved creating and having a forum for my ideas.”

I think too, that although he says breezily, “I’m not the most creative designer, I’m intuitive,” it probably irks him that others sometimes take him at his word. At Gucci and YSL, he was at times, a great designer, and never less than interesting. Don’t underestimate intuition either — it enabled him to deliver the right look at the right time for a decade. When he arrived at Gucci, the company was barely able to scrape together the cash for a new photocopier; by the time he left, it was one of the most critically and commercially successful labels of the Nineties. But for Ford, whether it’s perfumes, clothes, sex-drenched ads or films about existential crises, he still feels that he has something to prove.

Source:  Women.timesonline.co.uk Written by: Lisa Armstrong

Tom Ford visited Valentino

maandag, april 6th, 2009

Tom Ford and ValentinoTom Ford visited The LA premiere of Valentino’s movie Valentino: The Last Emperor. The premiere took place the other night and brought out many of Valentino. Other guests were Janice Dickinson, Nicky Hilton, Gwynth Paltrow (in killer Louboutins) and Anne Hathaway.

Source: Fashionfadesblog.blogspot.com

Tom Ford Goes Out With a Roar

dinsdag, juli 8th, 2008

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

Tom Ford, Partner, Take In a Little “Mamma”

woensdag, juli 2nd, 2008

Tom Ford with his longtime partner Richard BuckleyTom Ford with his longtime partner Richard Buckley attend the Mamma Mia! movie world premiere held in London, England. They were not the only stars of the night Executive Producers, Tom Hanks and Rita Wilson along with Valentino, Amanda Seyfried and Pierce Brosnan also attended.

Photo: Fashionologie.com



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