Tom Ford Spring 2012 Collection
Tom Ford’s show went off today without a hitch. The models looked sexy and amazing, the audience raved about his designs, and the press… well, like his last collections, the press was absent because there was a no photo policy.
It was torture to wait 2 months before seeing a glimpse of the Tom Ford Spring 2012 collection but now the images are finally out! Though that isn’t entirely true, as Fashion Collections managed to grab a few secret images of the collection before the TOM FORD looks were publicly released. Regardless, a few shots taken with a phone hardly do this fashion collection justice.
Though the media was not as keen on this season’s secretive show, and it is said, that unlike previous seasons, there was no standing ovation, Tom Ford remains one of this decade’s most influential designers.
Tom ford used frothy tulle and eyelet fabrics which were princess worthy with an Eastern European feel. A mix of peasant tops and luxurious fringed pieces took to the stage alongside sleek silhouettes which were the focus for Tom Ford’s latest collection.
The glare shining off many of the fabrics on many of the looks was very reminiscent of a handful of blinged out Gucci collections, but with Tom Ford’s new refined elegant touch. In the end the show looked a lot like a ménage of fringe and foil. Ford’s innate and perhaps occasionally overt scene of sexuality was ever present as seen with the use of plunging necklines and transparent tops. If there was one thing that this line was good at, it was the success of capturing the feeling and understanding of fabrics in motion. Mind you, the photos of the collection (taken by Tom Ford himself) definitely helped with that.
Some of the bold colors used in this season’s palate were purples in every shade as well as smoldering reds, and lively blush pinks. The shades took on a more darker feel with the use of jet black pieces which helped to enhance the serious side of the line. A collaboration of pinks, jet black and red pieces incorporated into the palate gave an austere quality, only to be broken down playfully by the peasant prints in blue, cream, and gentle brown like a losing game of Red Rover .
Sexy black team: “Red Rover, Red Rover, We call Flirty Fun over”
Flirty Fun: SMASH!
The difference between the two feelings of this collection, prairie, and passion; didn’t necessarily play well off each other and therefore ended up telling a broken story. Though the silhouettes were beautifully sculpted, and the workmanship on this collection was divine, some of the frilly pieces were layered in all the wrong ways and looked more “Befuddled Gypsy” than “Maiden in the Meadow.”
It is the hope that next season Tom will pull it back a little. Nothing is sexier than sleek and simple with the promise of a squeeze.
It is a wonder how many more seasons Tom can get away with this as many people are turning a cold shoulder to the man who is seemingly giving the cold shoulder to his fans and press. Has Tom Ford created a brand that is so untouchable that it withstands the recession? Or has he just insulted a lot of people?
One may argue that everyone who should have been at his show was but isn’t the rule of thumb “the more the merrier?” Or when dealing with ready-to-wear collections, are exclusivity and mystery weapons in your arsenal?
Here are some quotes from a few lucky people who were invited to the show:
Cathy Horyn, New York Times:
“Mr. Ford’s show was thoroughly Tom Ford in its sex appeal and silhouette — tigress hair, smoky eyes, glossy lips, taut skirts and strappy high heels. The collection was loaded up with great day clothes, including loosely laced Moroccan blouses, fringed skirts and some simple but gorgeous dresses with ruching or a belt at the waist and a bubbled hem. A number of outfits also had corsets blended into the tone of the blouse. Equally strong were his evening option of slinky black pants—more like a ski pant—with a simple chiffon T-shirt coated with feathers at the front.”
Hamish Bowles, Vogue:
“Amongst the hourglass silhouettes and powerfully sensual effects beloved of Ford fans since his work at Gucci in the nineties, there was a thread of Pre-Raphaelite romanticism in embroidered peasant blouses (of the type Matisse loved to paint), and even frothy, Renaissance-sleeved dresses that evoked the work of the great sixties and seventies London designer Ossie Clark.”
Lisa Armstrong, Daily Telegraph:
“Mesh, marabou, raffia fringing, a candlewick effect which suggested long hours at the hand embroiderers, plaited satin ribbons – these were just some of the techniques applied onto those hourglass silhouettes. Throw in bosoms, cupped in cantilevered chiffon, checks and some snakeskin skirts and it could have all looked a bit much.”
Jess Cartner-Morley, The Guardian:
“I’m going to come straight out with it. Deep breath: I didn’t think Tom Ford’s show was all that. Not that it was awful, by any means, but despite the beautiful tailoring and the immaculate execution it fell a little flat. It felt too self-referential. Too many frills and too few new ideas. There were gorgeous, curvy, super vamp dresses that I loved, but the flouncy peasant blouses and corset belts seemed like a Guilty Pleasures version of Tom Ford.”
Harper’s Bazaar UK:
“@BazaarUK: Tom Ford. We salute you. Period. *faints*”
“@rzrachelzoe: I can’t breathe from The Tom Ford presentation..there r no words for his genius..xoRZ”