Hope Is Here. Tom Ford SS21

Tom Ford’s spring-summer 2021 line-up – of course presented as a look-book – is the finale of the largely digital New York Fashion Week, which had missing many big names and was a mood rollercoaster. Some labels opted for sober pragmatism (like Khaite), while others for something more joyful and sweet (Rodarte for instance). Ford’s collection falls into the latter camp. “I honestly wasn’t sure I could make a collection even if I felt inspired to do so… I felt that fashion should simply go into hibernation for a year.” Of course, that would never do. Ford is the rare designer who knows what his woman wants before she does. The collection he put on the runway back in February was loaded with athletic gray sweats and patchworked jeans – exactly the kind of glam casual things that his customer might have liked to wear through quarantine.  For spring, the designer’s gut told him to do something that’s hopeful and exuberant. “The last thing I want to see are serious clothes,” he said. “I think we need an escape. I think we want to smile. I know what’s going on in our world right now doesn’t make us want to smile. So that’s what I’ve done: hopeful clothes that make you smile.” Ford found the conduit for those vibes in a documentary about the fashion illustrator Antonio Lopez and the ’70s models Pat Cleveland and Donna Jordan whom Lopez sketched. That is the era that he loved to work around at Gucci. And when Ford looks back at his Gucci years, expect good things. This is an extrovert’s collection, with plenty of skin and very little pretense (I just hate the logo-ed bands…). There’s a compelling ease to the clothes, even though the attitude is dressed up. Shirts are unbuttoned to the navel, nodding to the cult spring 1995 Gucci show. The colorful florals seen on several slinky dresses and a pair of neat blazers for both women and men are cheering. The tie-dyed caftan and pool robes are heaven and make me think of Samantha Jones. Maybe, in the end, we will again enjoy festive garden parties?

Collage by Edward Kanarecki.

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