Haider Ackermann Is Named Creative Director Of Tom Ford

Haider Ackermann is the new creative director of Tom Ford, effective today. “It is with tremendous pride that I will seek to honour the legacy of Tom Ford, a man I have long admired and have the utmost respect for,” said Ackermann in a statement released this morning as he was named in the role by Ford’s owner, The Estée Lauder Companies Inc (ELC).

“We are thrilled to welcome Haider Ackermann to Tom Ford,” William P Lauder, executive chairman of ELC, said in a statement to Vogue Business: “Haider’s appointment strengthens our ambitions for this enormously successful brand. His unique and insightful vision will further enhance the house’s global impact on fashion and culture.” Ford, who founded his eponymous brand in 2005, stepped down in 2023 following its $2.8 billion sale to ELC the previous year.

Ackermann, who was born in Bogotá, Colombia, and adopted by a French family, will be based in his home city of Paris, the brand said today. His role makes him responsible for shaping all of Tom Ford’s fashion output, including womenswear, menswear, accessories and eyewear. He will also “guide the creative vision for the overall brand”, the company’s statement added. The first full view of his interpretation of the codes established and refined by Ford will be revealed in Paris next March at a runway show during the autumn/winter 2025 edition of Paris Fashion Week.

One person already requesting his ticket for that show is Tom Ford himself, who greeted today’s news warmly. He said: “I have long been a great fan of Haider’s work. I find both his womenswear and menswear equally compelling. He is an incredible colourist, his tailoring is sharp, and above all, he is modern. We share many of the same historical references, and I could not be more excited to see what he does with the brand. I suspect that I will be the first on my feet to applaud after his show in March.”

Following Ford’s graceful exit, the brand was initially helmed by Peter Hawkings – a company veteran who had worked under the founder for nearly 25 years. He exited suddenly this past July.

In Ackermann, the brand has pivoted to a designer who is deeply au fait with fashion’s limelight. A seasoned creative leader, he operated his eponymous label for nearly two decades until 2020. Karl Lagerfeld famously once nominated Ackermann as a possible future candidate to replace him at Chanel. That didn’t happen – or at least it hasn’t yet – although Ackermann was appointed by Antoine Arnault to a critically acclaimed stint at the helm of the LVMH-owned masculine maison Berluti.

So what will Ackermann, as an established star designer in his own right, bring to Tom Ford? The merging of his design with the codes of its founder represents an intriguing fashion prospect: both designers have respectively developed their own aesthetic dialects that, while highly distinct, also overlap in their blending of profound sensuality with strict rigour. Furthermore, Ackermann’s chief métier has always been womenswear, a category which the brand’s fashion licensee, Ermenegildo Zegna Group, is especially keen to grow. Another Ackermann attribute that overlaps with Ford is their adjacency to Hollywood – the designer is especially close to Tilda Swinton and Timothée Chalamet.

In April 2023, the sale of the Tom Ford brand was completed in a deal that saw his existing partners in beauty, eyewear and ready-to-wear assume control. Tom Ford International, the company formerly responsible for the Tom Ford fashion business, was fully acquired by the Milan-based Ermenegildo Zegna Group. The acquisition was part of a joint operation led by ELC, Tom Ford’s existing beauty partner, and Marcolin, its eyewear partner.

In a statement shared with Vogue Business, Ermenegildo ‘Gildo’ Zegna, chairman and CEO of Ermenegildo Zegna Group, said: “The Tom Ford fashion business has long had tremendous growth potential. The appointment of Haider as the brand’s new creative director will further strengthen the team we are building and makes me even more confident in the future of Tom Ford Fashion.” It is understood that Zegna’s prime ambition for Tom Ford ready-to-wear is to expand its womenswear sales, which, in 2023, accounted for 30 per cent of Tom Ford Fashion revenues.

Ackermann appears powerfully qualified both to navigate and drive that growth. His own much-lamented eponymous line came to a sudden and surprising halt in 2020. Since then, the designer – who, as a child, lived with his family in countries including Ethiopia, Chad, Algeria and The Netherlands – has been in a second phase of creative wandering. Recent employment has included roles at Maison Ullens, Fila and Canada Goose, as well as a deservedly lauded cameo season at Jean Paul Gaultier couture.

Now from Paris, Ackermann will enjoy a newly stable environment in which to develop his aesthetic around the foundations established by Tom Ford. Reflecting the structure of the brand, he will report to both Guillaume Jesel, president and CEO of Tom Ford and luxury business development at ELC, as well as Lelio Gavazza, CEO of Tom Ford Fashion at Ermenegildo Zegna Group.

Today, Jesel hailed Ackermann as “one of the world’s most visionary and inspiring talents in fashion”, adding: “He draws on his deep affinity for global culture and the arts to create arresting fashion and memorable emotional connections.” Gavazza added of Ackermann: “His renowned experience in luxury will be instrumental in driving the fashion business forward during its next important phase of expansion.”

Clare Waight Keller Is Uniqlo’s New Creative Director

Clare Waight Keller’s debut Uniqlo: C collection launched last September, and it’s safe to say that the new sub-label has been a success. Today, she’s here in New York to show off the new autumn/winter season, and she comes with a new title: creative director, meaning she now oversees not just the Uniqlo: C line she was hired to develop last year, but also the brand’s core offerings, which so many of us know and love and wear so often.

You know which ones I mean: all the cashmere, the merino, basically anything under the LifeWear umbrella. “What you’ll start to notice,” Waight Keller says, “is that within some of those core programmes there’ll be new fashion shapes, and there’ll be new silhouettes that drop every other month, to really bring in the freshness.” Among the developments that will register, she explains, are updates to the overall colour palette. “I’ve got my hands all over that.” On the women’s side, look for more femininity, more prints, and more exploration in terms of pattern and cut, and younger, trending silhouettes. “Uniqlo appeals to such a big audience,” she says, “but a big chunk that they really capture is that younger age bracket. It’s a fast-moving market, so there’s a lot to learn there.”

Waight Keller hails from the salons of Paris; she was at Givenchy for three years and at Chloé for six before that, and she’s upfront about the learning curve at Uniqlo. “In the fashion industry, especially luxury, it’s all about change, change, change. What are the new proportions? The new silhouettes? That’s important to keep things moving, but the truth is, it’s the timeless pieces that people buy in a big, big way.”

One of the first categories she’s turned her eye to is denim. A new wide-leg style has become “one of the globally top-selling styles” since launching. In menswear, you can expect softer tailored jackets and “more interesting oversized shapes.” Then, as September edges into October her new Pufftech styles will start filtering into the stores, and she says it’s not just the palette that will be new, but also the proportions and “the way that they’re styled.”

Waight Keller has noticed her own style changing since starting to work full-time at Uniqlo. These days she’s pairing her tailored jackets with white tees and cargo pants or men’s parachute pants. “The Uniqlo customer has this sort of everyday casualness which is really quite appealing,” she says. “It’s a bit more active-sporty than the very refined, let’s say, wardrobe I had before. I’m enjoying the fact that everything’s cotton and fresh and washable.”

What about all those autumn/winter 2024 season headlines touting the return of dressing up? “I don’t see it myself,” she says. “I travel so much” – indeed, in between our conversation in late August, which she conducted from the English seaside, and her arrival in New York, she was in Japan for several days of work – “I’m observing people constantly and the big takeaways are that everyday style has evolved from Covid. There’s a relaxed sense of wanting to look smart-ish but actually feel super-comfortable. This is my mission at Uniqlo: to create that comfort with a strong sense of fashion, because I think that’s the sweet spot – something that feels great, makes you look good, but actually has a complete ease to it.”

There’s one more growth area she wants to talk about. “I’ve got a very good collection of flat shoes now. That’s always the go-to, on the run, with travel. But there’s still not a good selection in the market. That’s a category that’s going to expand [at Uniqlo], as well.”

Fashion East Reveals Its Expansive New Class Of 2024

There will be 70-something designers participating in London’s spring/summer 2025 season, and at least 13 of them will have debuted as part of Fashion East. The capital owes a great deal to this beloved incubation programme, which has for the past 24 years nurtured the careers of – deep breath, because it always bears repeating – Kim Jones, Stefan Cooke, Craig Green, Maximilian Davis, Charles Jeffrey, Grace Wales Bonner, Supriya Lele, Simone Rocha, Jonathan Anderson, Knwls, Mowalola and Martine Rose. Much has been made of these unique discoveries, but Fashion East is at heart a forward-looking institution, and its latest cohort builds on a new and expansive era.

And so: Fashion East is announcing the names of its new cohort – Pia Schiele of the skate brand Loutre, Cameron Williams and Jebi Labembika of Nuba, and footwear designer Kitty Shukman – who will mount collections alongside returning artists Samara Scott and Tayah Leigh Barrs of Sos Skyn and designer Olly Shinder on 13 September at the Truman Brewery in Shoreditch. It’s the meatiest line-up in a while. “We couldn’t resist supporting five talents this season,” founder Lulu Kennedy and partner-in-crime Raphaelle Moore explain. “It’s a myriad of art, fantasy, queer club culture, elegance and luxury streetwear. But it’s best if we don't try and explain it. We’d rather you experience it, feel it and wear it.”

The golden ticket had been a longtime coming for each of Fashion East’s recruits. Kennedy and Moore had already spotted Loutre’s patchwork knits and hirsute jackets – cornerstones of the German-born Schiele’s deconstructed-reconstructed approach to upcycled design since having founded the brand in 2018 – on the content creator Deba Hekmat and Corteiz’s Clint. Nuba, too, had spent years roosting in their minds. Cameron started the label as a Central Saint Martins graduate in 2020, and his classmate Labembika joined as co-creative director in 2023 with the launch of an elegant and at times imposing collection of felted wool Melton coats, draped cloaks and nylon skirts. As for Shukman: “It’s impossible to miss her incredible creativity and footwear on Instagram,” the duo say of the former Yeezy designer’s strange experiments in 3D-printing. “We met IRL and loved her.”

This season will also mark Shinder’s final collection with Fashion East. His designs – wear them and you’ll feel wrong in a way that feels right – stick big, rubber-gloved fists into traditional working clothes, and have been some of the most impressive to have surfaced on the London catwalks in recent years. “I’m steering clear of reinvention,” he said of his previous collection. “It’s not a sustainable approach for me. My fascination lies in uniforms with an underlying theme of kink.” Shinder will be in good company alongside recent Fashion East alums Standing Ground, Johanna Parv and Karoline Vitto should he make the decision to go solo next season.

Eckhaus Latta Reinvents The NYFW Show With… A Fashion Show

My journey to attend Eckhaus Latta’s spring 2025 presentation – which was billed as a dinner in a privately owned Tribeca space – started a few days before the event. That’s when I arrived at a private suite in the East Village’s Standard Hotel for an appointment with founders Zoe Latta and Mike Eckhaus. “We’ve done a lot of runway shows and wanted to do something different this season,” Eckhaus says moments after I enter the suite. Latta adds with a grin: “It’ll be a beautiful dinner but with about seven minutes of interlude.”

The duo brings me into a room with the season’s lookbook papered up on the wall. There are also hanging racks filled with those very designs, and Latta has pulled aside a selection of the brand’s spring offerings, explaining that the uniform for the evening is the spring collection. Am I being styled by the designers for their event? I’m instantly nervous. “We’re asking everybody to style the pieces however they want,” Latta says. After a few rounds of dress up – a cream and grey pinstripe open-back dress, a soft olive knit mini with an octopus-like black edge creeping out from underneath – we settle upon the Twyla dress, a reversible knit number in chocolate brown and lilac. Eckhaus snaps a photo of me in the ‘fit. This should have been a hint at what was coming next.

Inside the party, fashion’s coolest – second daughter Ella Elmhoff, stylist and newly-Lichtenstein yellow Dara Allen, singer King Princess, comedian Kate Berlant – mix and mingle until we are ushered upstairs to the main event. The verdant tablescape has cold noodles from Momofuku waiting, and we’re encouraged to dig in. And after a word of thanks from our hosts, suddenly Berlant, almost in a guerilla-style coup (which she later tells me was a “performance interruption”), grabs the mic. “I can’t help but notice how this area between the tables looks like a runway…” she teases. Oh shit. “This is an improvised toast turned runway show!” Berlant declares, then gives us a walk, fluffing her Julia Roberts curls as she goes.

Immediately, the crowd starts to clap and scream. Real models, musicians, and more all take a spin at walking while a single lit cigarette – both modelling prop and mignardise – is passed hand to hand. Jemima Kirke takes a puff while going chair-to-chair asking “do you have a pair of sunglasses?” It was 9:30 pm, so I hadn’t packed a pair, but the sartorially prepared Julia Hobbs shares hers. Shirts are coming off, the crowd is screaming, Berlant is begging for more models – and I’m glued to my seat. As singer Loren Kramer freestyles R.E.M.’s “Losing My Religion,” all I can think is I’m going to lose my dinner if I have to get up there.

Why Ganni Is Switching Copenhagen For Paris Fashion Week

Ganni has long been Copenhagen Fashion Week’s flagship brand. But after two seasons off showing in the Danish capital, Ganni is making the move to Paris Fashion Week for spring/summer 2025, with a show on Tuesday 24 September. And it’s not a one-off.

“Ganni has established itself globally, and as we enter our next chapter of growth, showcasing in Paris is a natural evolution for our brand equity and scale,” said Ganni CEO Laura Du Rusquec in a statement. Du Rusquec, who was previously deputy CEO of Balenciaga, joined Ganni in April, replacing outgoing CEO Andrea Baldo after five years. Her main focus is global expansion, with the Paris move being part of a long-term strategy, according to the brand.

“Paris offers an unparalleled global platform, and we are excited to present our SS25 collection, along with our ongoing vision and commitment to responsibility in the fashion industry,” Du Rusquec said.

Ganni was launched as a fashion label in 2009 by husband and wife duo Nicolaj and Ditte Reffstrup. Ditte is creative director, while Nicolaj stepped down as CEO to make way for Baldo five years ago and focus on the brand’s ambitious responsibility goals. It’s arguably the most prominent Danish brand, with 700 global stockists and 70 stores.

Although Copenhagen Fashion Week continues to grow and attract global buyers and press, the Copenhagen-to-Paris pipeline is a well-trodden path for maturing labels. From Cecilie Bahnsen to Heliot Emil, many Danish brands have permanently moved to the French capital, which Ganni describes as the “premier fashion stage”, in search of boosted exposure and orders.

Ganni hasn’t shown in Copenhagen for two seasons now, since its AI-inspired spring/summer 2024 show, instead opting to support emerging talents on the schedule. For autumn/winter 2024, the brand curated an exhibition around material innovation, with looks from budding Scandi labels. But after its second season off for spring/summer 2025, rumours began to swirl that the brand was decamping to Paris or another major fashion city to reach its next phase. Showing straight after Dior, a few hours before Saint Laurent, on the second day of Paris Fashion Week, is certainly a new frontier.

John Galliano And Chemena Kamali Among The 2024 Fashion Awards Nominees

Chemena Kamali, John Galliano, Jonathan Anderson (for JW Anderson and Loewe), Miuccia Prada (for Miu Miu), Pieter Mulier and Rick Owens have been nominated for Designer of the Year at the 2024 Fashion Awards, the British Fashion Council (BFC) announced this week.

The award recognises British or international designers whose collections have made a notable impact on the industry, “defining the shape of global fashion”, according to the BFC. Last year, Anderson was named Designer of the Year.

The Fashion Awards – founded in 1989 to raise money for the BFC Foundation, which provides funding and business mentoring for emerging UK-based brands – will take place on 2 December at the Royal Albert Hall in London, sponsored by Pandora.

The nominees for British Menswear Designer of the Year are: Craig Green, Grace Wales Bonner, Anderson, Kiko Kostadinov, Kim Jones and Martine Rose, the latter of whom won last year’s category award. In the running for British Womenswear Designer of the Year are: Erdem Moralıoğlu, Anderson, Maximilian Davis (last year’s winner), Roksanda Ilinčić and Simone Rocha.

Nominees for New Establishment Menswear, which the BFC reintroduced as a category in 2023, are: Aaron Esh, Foday Dumbuya, Nicholas Daley, Priya Ahluwalia and Stefan Cooke and Jake Burt (jointly for Stefan Cooke). For New Establishment Womenswear, there is: Dilara Fındıkoğlu, Emma Chopova and Laura Lowena (jointly for Chopova Lowena), Jawara Alleyne, Laura and Deanna Fanning (jointly for Kiko Kostadinov) and Marco Capaldo. Bianca Saunders and Chopova Lowena won in the menswear and womenswear categories last year, respectively.

On the shortlist for British Accessories Designer is: Anna Jewsbury for Completedworks, Helen Kirkum for Helen Kirkum Studio, Jack Cannon and Joe Gelb for Hatton Labs, Rosh Mahtani for Alighieri and Stephen Jones. The nominees for Model of the Year are: Alex Consani, Alva Claire, Amelia Gray, Anok Yai, Liu Wen and Mona Tougaard. Paloma Elsesser took home the award in 2023.

The BFC has already announced that artist, photographer and filmmaker Tyler Mitchell will receive the Isabella Blow Award for Fashion Creator. “Mitchell’s work is incredibly innovative and progressive, telling the authentic and nuanced stories of those from Black identities,” said BFC chief executive Caroline Rush in a statement. “Always ahead of the curve, he consistently challenges the industry’s perceptions of beauty and fashion imagery – striving to make it more reflective of real life.”

Sophia Neophitou-Apostolou, creative director, publisher and global editor-in-chief of 10 Magazine, 10 Men Magazine and 10+ Magazine, will receive a Special Recognition Award for her contribution to the fashion industry. “Neophitou-Apostolou’s visionary approach has had a profound impact on the industry, where she has shaped the modern landscape and consistently championed new talent,” said Rush.

A Blind Model Just Made History At Copenhagen Fashion Week

It took a matter of seconds for Lucy Edwards to make history on Sinéad O’Dwyer’s spring/summer 2025 catwalk, and the hairstylist Anna Cofone four months to make it happen. The broadcaster – who has been an informative and spirit-raising presence on the For You Page since she started uploading TikToks at the beginning of lockdown – this afternoon became the first blind person to model at Copenhagen Fashion Week, and the first blind person to have walked for a London brand. She strode, accompanied by her guide dog, in mini-skirted tailoring as guests were left questioning why this sort of thing isn’t more commonplace. “Just because a person is blind, doesn’t mean they don’t care about their appearance,” Cofone, who runs Hair and Care, a non-profit tasked with broadening fashion and beauty spaces to those with low vision, says. “It’s the absolute opposite.”

Cofone understands this more than most. “My father had retinitis pigmentosa, and I think he used fashion and grooming as a way to maintain independence when he was losing sight,” she says. “He was so passionate about self-care, and was so proud when someone took the time to describe clothes to him, guiding his hand over the shape of a lapel, encouraging him to feel the fabric beneath his fingers. He died 15 years ago and I started Hair and Care in 2019 to help keep his memory alive.” Cofone, who attributes her own success to her father’s resilience, began working with Lana del Rey two years after he passed. Then along came gigs with Dua Lipa, and almost every single international edition of this magazine, alongside countless fashion weeks and campaigns. “Hairdressing isn’t accessible for blind and low-vision people: going into salons is a real challenge and there’s a lack of education on how to communicate with them. Hair and Care runs monthly styling workshops from my studio in Hackney, and we’ve helped to support over 300 women with varying degrees of visual impairments since 2021.”

It was in one of these sessions that Cofone first met the 28-year-old Edwards, who has been blind since the age of 17 as a result of a rare genetic mutation known as incontinentia pigmenti. She has since signed ambassadorships with Pantene and Barbie, and earlier this year published a motivational memoir – Blind, Not Broken – based on her own path to self-acceptance. “She was one of our guests at Sinéad’s London Fashion Week presentation last season,” Cofone says. “The plan was that she’d walk, too, but we couldn’t get it across the line.” There were, of course, a series of other “firsts” to execute: inviting showgoers with visual impairments to experience a tactile tour of the collection, and recording audio descriptions for each look. O’Dwyer and Cofone went even further for spring – partnering with the Danish Association of the Blind on a guest list and creating booklets of fabric swatches and evermore detailed aural guides, which attendees listened to on headsets donated by Sony.

The seasonal grind is hard enough for independent designers, but here is someone who makes things actively more challenging for themselves in order to accommodate an audience of fashion fans so egregiously overlooked. “The most important thing was to make sure the experience would be safe and accessible for Lucy,” Cofone says. “From travelling with an airline that she trusts, to ensuring she could sleep in the same hotel as Hair and Care, to securing shuttle buses, time alone with a movement director and perfecting the tactile markings on the catwalk.” (That O’Dwyer absolutely should be taking home the 2024 Zalando Visionary Award is obvious.) “The dream is to work with the British Fashion Council and be the voice that helps brands to be accessible for blind and low-vision people,” Cofone adds of this life-altering if not culture-shifting project. “The women and young girls who come to our workshops leave feeling changed. Less isolated, empowered to take on a more visible role in public life. It’s about giving people a purpose, confidence and a chance to harness their identities.”