
"When you think about it, Haider Ackermann and Tom Ford are unlikely bedfellows. Take the fact that Ackermann is a virtuoso of colour, while Ford is so in love with black he even painted most of his London house that non-shade, with a study clad in Macassar ebony (also black). But, more fundamentally, when we're talking about bedfellows, Ackermann is a sensualist and Ford sexuality - or, more blatantly, sex with Ackermann is implicit, while with Ford it's censor-grating, public-baitingly explicit."
"Yet, for his second outing for the house Ford built, Ackermann chose to embrace that identity, wholeheartedly. The thing everyone noticed? The thong - well, a thong, and a jockstrap or two, underwear revealed by transparent shorts or peeking seductively above the waistbands of loose, louche trousers. "Seduction is a dialogue," Ackermann said in a written statement - here, that dialogue was Ackermann apparently exercising his inner f-word. Ford, that is."
"There were plenty of plunging necklines, and x-rays of the rest of the body revealed through chiffon, and - honestly - a lot of erect nipples under clinging viscose jerseys. And was that a steel cock-ring wrapped into a sandal like Retifism run rife? Or maybe the collection was recontextualising even an innocent metal loop into something shady and salacious."
Haider Ackermann adapted Tom Ford's overtly sexual aesthetic into a collection that married sensual color with explicit eroticism. Underwear—thongs, jockstraps and bras—was intentionally revealed through transparent shorts, low waistlines and vented materials, while chiffon and clinging viscose exposed silhouettes and erect nipples. Accessories and footwear incorporated fetish motifs, with a steel cock-ring repurposed as a sandal detail. Patent leather in apple green, bruised lipstick red and oil-slick black framed slashed garments that suggested labial silk in celadon or baby pink. The choreography emphasized glimpses of underpinnings, skin, and the promise of revelation.
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