Thomas Carlyle “Tom” Ford (born August 27, 1961) is an American fashion designer and film director. He gained international fame for his turnaround of Gucci and the creation of the Tom Ford label .Ford directed the Oscar-nominated film A Single Man. Ford was the Creative Director for GUCCI AND YSL (1994-2004)
Ford began studying interior architecture at The New School’s famous art and design college, Parsons The New School for Design. During his time in New York, Ford became a fixture at the legendary nightclub Studio 54. The club’s disco-era glamor would be a major influence on his later designs.
Before his last year at New School, Ford spent a year and a half in Paris, where he worked as an intern in Chloé’s press office. Though his work primarily involved sending clothes out on photo shoots, it triggered his love of fashion. He spent his final year at The New School studying fashion, but nonetheless graduated with a degree in architecture.
Early Career 1986-1994
When interviewing for jobs after graduation, he said that he had attended The New School’s Parsons division, but concealed that he graduated in architecture, and that his work at Chloe was a low-level public relations position. Despite his lack of experience, Ford called American designer Cathy Hardwick every day for a month in hopes of securing a job at her mid-price sportswear company.
Eventually, she agreed to see him. Hardwick later recalled the incident: “I had every intention of giving him no hope. I asked him who his favorite European designers were. He said, ‘Armani and Chanel.’ Months later I asked him why he said that, and he said, ‘Because you were wearing something Armani’. Is it any wonder he got the job?” Ford worked as a design assistant for Hardwick for two years
In 1988, Ford moved to Perry Ellis, where he knew both Robert McDonald, the company’s president, and Marc Jacobs, its designer, socially. He stayed at the company for two years, but grew tired of working in American fashion. In a later interview with the New York Times, he commented, “If I was ever going to become a good designer, I had to leave America. My own culture was inhibiting me. Too much style in America is tacky. It’s looked down upon to be too stylish. Europeans, however, appreciate style.”
Ford would soon have the opportunity to enter the world of European fashion; Gucci, a faltering luxury goods company, was seeking to strengthen its women’s ready-to-wear presence as a part of its brand overhaul. At the time, “no one would dream of wearing Gucci,” said Dawn Mello, then the company’s creative director. Mello hired Ford—then a near-unknown—as the brand’s chief women’s ready-to-wear designer in 1990.
“I was talking to a lot of people, and most didn’t want the job,” Mello said. “For an American designer to move to Italy to join a company that was far from being a brand would have been pretty risky.” Ford and his longtime partner, fashion journalist Richard Buckley, relocated to Milan that September.
Ford’s role at Gucci rapidly expanded; he was designing menswear within six months, and shoes soon after that. When Richard Lambertson left as design director in 1992, Ford took over his position,heading the brand’s ready-to-wear, fragrances, image, advertising, and store design.
In 1993, when he was in charge of designing eleven product lines, Ford worked eighteen-hour days. During these years, there were creative tensions between Ford and Maurizio Gucci, the company’s chairman and 50% owner. According to Mello, “Maurizio always wanted everything to be round and brown, and Tom wanted to make it square and black.” Though Maurizio Gucci wanted to fire Ford, Domenico de Sole insisted that he remain. Nonetheless, Ford’s work during the early 1990s was primarily behind the scenes; his contributions to Gucci were overshadowed by those of Mello, who was the company’s public face.
GUCCI AND YSL CREATIVE DIRECTOR (1994-2004)
In 1994, Ford was promoted to creative director. In his first year at the helm, he was credited with putting the glamour back into fashion introducing Halston-style velvet hipsters, skinny satin shirts and car-finish metallic patent boots. In 1995, he brought in French stylist Carine Roitfeld and photographer Mario Testino to create a series of new, modern ad campaigns for the company.
Between 1995 and 1996, sales at Gucci increased by 90%. On the strength of Ford’s collections, Gucci went public in October 1995 with an IPO of $22 per share, followed by an additional global offering in March 1996 at $48 per share and a third offering in 1999 at $75 per share. In early 1999, luxury goods conglomerate LVMH, headed by Bernard Arnault, increased its shareholdings in Gucci with a view to takeover.
Domenico de Sole reacted by issuing new shares of stock in an effort to dilute the value of Arnault’s holdings. Ford and De Sole also approached French holding company Pinault-Printemps-Redoute (PPR) about the possibility of forming a strategic alliance. François Pinault, the company’s founder, agreed to the idea and purchased 37 million shares in the company, or a 40% stake. Arnault’s share was diluted to 20%. At one point, Ford was the largest individual shareholder of Gucci stock and options.
By 1999, the house, which had been almost bankrupt when Ford joined, was valued at about $4.3 billion. When Ford left in 2004, Gucci Group was valued at $10 billion.
When Gucci acquired the house of Yves Saint Laurent (YSL), Ford was named the creative director of that label as well, displacing Saint Laurent himself as designer of the company’s ready-to-wear line.
Saint Laurent did not hide his displeasure with this development, openly and regularly criticizing Ford’s collections. “The poor man does what he can,” he is quoted as once saying of his successor. During his time as Creative Director for YSL, Ford nonetheless won numerous Council of Fashion Designers of America Awards. Like his work at Gucci, Ford was able to catapult the classic fashion house back into the mainstream.
His advertising campaigns for the YSL fragrances Opium (with a red-haired Sophie Dahl completely naked wearing only a necklace and stiletto heels in a sexually suggestive pose) and YSL M7 (with martial arts champion Samuel de Cubber in complete full-frontal nudity) have been famous and provocative by pushing fragrance ads to a new level of creativity in artistic expression and commercial impact.
In April 2004, Ford parted ways with the Gucci group after he and CEO Domenico de Sole, who is credited as Ford’s partner in Gucci’s success, failed to agree with PPR bosses over artistic control of the Group. He has since referred to this experience as “devastating” because he had “put everything into that for fifteen years.”
Tom Ford (2004–present)
After leaving Gucci, Ford launched a line of menswear, beauty, eyewear, and accessories in 2006. Dominico De Sole became chairman of the Tom Ford label.
In March 2011, Ford was featured on the cover of the bi-annual publication AnOther Man, the fraternal counterpart to Another Magazine, giving his opinion on what makes the modern day gentleman.
FORD CARRER AS A FILM DIRECTOR
In March 2005, Ford announced the opening of his film production company, FADE TO BLACK. In 2009, Ford made his film directorial debut with A Single Man, which was based on the novel of the same name by Christopher Isherwood.
The film stars Colin Firth, Julianne Moore, Nicholas Hoult and Matthew Goode. The screenplay was adapted by Ford and David Scearce. Ford also produced the film, which premiered on September 11, 2009, at the 66th Venice International Film Festival and was nominated for a Golden Lion. Colin Firth, who plays the protagonist George, was awarded the Volpi Cup as Best Actor for his performance and was also nominated for an Academy Award, Golden Globe, Independent Spirit Award and Screen Actors Guild Award.
He won the BAFTA Award for Best Actor in a Leading Role. Julianne Moore was nominated for Best Supporting Actress and Abel Korzeniowski for Best Original Score at the Golden Globes. Tom Ford was nominated for two Independent Spirit Awards in 2009, including Best First Feature and Best First Screenplay. Ford, along with David Scearce, also received a nomination for Best Adapted Screenplay at the Broadcast Film Critics Association Awards.