Tom Ford Dresses James Bond, Will Debut First Menswear Collection in London

Finally: The world’s most dapper dressed designer and has joined forces with the world’s most famous secret agent. Today, fashion trade journal WWD announced that Tom Ford has exclusively designed all of delicious Daniel Craig’s wardrobe in the new James Bond film, Skyfall. To keep up with the momentum, Ford will also show his menswear collection in London for the first time in January to coincide with his first British boutique opening. Dude is on a roll!

Although it hasn’t been determined if the designer will show his collection on a runway or in a super exclusive presentation setting, I’m sure that the guest list will feature a who’s who of both the fashion world and Hollywood. 

But back to Bond. Watch the official trailer and a Ford-cloaked Craig below.

Birthday Boy Tom Ford’s 10 Best Quotes

Happy Birthday, Tom Ford! To celebrate the impossibly dapper fashion designer and film director’s fifty-one years on this planet, I’ve rounded up Ford’s best words of wisdom—from rational to ridiculous.

1. Ford to Grazia: "London is a place where eccentricity and individuality in clothing in particular is admired, and is respected…. Americans are afraid of style." 

2. Ford to Another Man: "A man should never wear shorts in the city. Flip-flops and shorts in the city are never appropriate. Shorts should only be worn on the tennis court or on the beach."

3. Ford to Vogue: "I couldn’t have cared less about Gucci when I first went there – but soon after I arrived, I cared a lot."

4. Ford to Interview: "I think gay men make better designers."

5. Ford to GQ: "Keep your jacket buttoned. Always. It’s just really flattering—it will take pounds off you."


6. Ford to Another Man: "Don’t be pretentious or racist or sexist or judge people by their background."

7. Ford to Vogue: "One of the most important things is to figure out what your look is – I don’t wear this black suit-white shirt combination all the time to try and be iconic – but because I’m most comfortable in this." 

8. Ford to Vogue: "I have a split personality – there is the public version and the private one. I’m really shy – someone asked me if I was happier surrounded by people or happier alone and I’m definitely happier alone – I can spend days on my own. I’m a definite introvert."

9. Ford to Interview: "[W]hen I come home I actually take off all my clothes, and I wear no clothes until I leave. I eat naked. I do everything completely naked."

10. Ford to VMAN: "This sounds negative, but when you’re considered one of the most beautiful women in the world, it’s very, very hard when that starts to slip away […] So I hope Gisele is prepared for that, because it’s so difficult.”  

Photos via Harper’s Bazaar, Business of Fashion

FashionFeed: Tom Ford SS12 Collection Finally Revealed, Marc Jacobs SS12 Collection Still Missing

● Behold the complete Tom Ford SS12 collection that the designer was so secretive about. [Vogue]

● You know how Marc Jacobs’ entire SS12 collection was stolen in Paris (who does that)? Well, it’s getting pretty serious and MJ is offering a reward for its return. [Grazia]

● Fashion designers shared their favorite Thanksgiving recipes with Teen Vogue, and the list includes delicious things like Charlotte Ronson’s pumpkin muffins and Michelle Smith’s bread pudding with peaches and caramel. [Teen Vogue]

Boardwalk Empire actress and modern-day seductress Paz de la Huerta would only wear Wolford lingerie if she could and owns a "great new catsuit that’s good for winter." [StyleCaster]

● Margherita Missoni is engaged! We’re already dying for her yet-to-be-created Missoni bridal gown. [WWD]

● Niche retailer Free People have revealed another top model clad lookbook. November stars Linda Vojtova and Ruby Aldridge. [FashionGoneRogue]

Tom Ford: “Americans Are Afraid of Style”

In addition to making sartorial magic at Yves Saint Laurent and Gucci, directing an Oscar-nominated film (A Single Man, 2009), designing his own womenswear collection, holding super top-secret presentations and debuting a high-profile beauty line, Tom Ford is known for his gift of gab. The 50-year-old American fashion designer and film director undoubtedly has a way with words, which is how he’s convinced Julianne Moore and Beyonce to walk his exclusive SS11 fashion show, consistently seduces Carine Roitfeld, and is called upon to provide tips for the modern man

The well-suited Ford recently sat down with Grazia‘s style director Paula Reed at an Apple store to wax poetic on a host of hard-hitting topics, from H&M collaborations to runway shows to his real take on American fashion. Here’s what we learned. 

1. He’s been with his boyfriend for a really long time. "My proudest moment was December 2011 – my 25th anniversary with Richard Buckley. Being with the same person for 25 years I’m very proud of and I have to say we’re happier and have a better relationship now than we did 25 years ago."

2. He thinks Americans are afraid of style. "London is a place where eccentricity and individuality in clothing in particular is admired, and is respected…. Americans are afraid of style. You know, remember America was founded by the puritans who fled the UK. They were very stern and strict, and too much style in America is considered a bad thing.  That’s changing, you know, now it’s totally different really. Globally, we’re unfortunately seeing a breast implant style taking that’s over the world."

3. He doesn’t believe runway shows are realistic. "I think a lot of people have switched off of fashion. I think one reason is because of runway shows. When I came back to fashion with a women’s’ collection this time and then a men’s collection I decided not to do runway shows, because when you do a runway show you have to amp things up in a way so that they read from a great distance – so that they are designed for photography rather than for a consumer. So you can exaggerate things to the point where they don’t actually function in real life for most peoples’ lives. And what I wanted to do was create clothes for real people."

4. Don’t hold your breath for a Tom Ford x H&M collab. "No, I’ve never had a conversation with them. I’m amused every time I read that. Not that I don’t have respect for them but I never had a conversation with them."

Read many more highlights on Grazia here.

Air Kissing, Real Kissing, and Turkey: The Lipstick Test

With Thanksgiving just around the corner and Christmas fast approaching after that, it’s about that time for my seasonal red lip to start making its appearance.  Not usually one to wear more than a swipe of tinted lip balm, putting on red lipstick is my way of acknowledging the festive and joyful nature of the holiday season, and also coincidentally brightening up a complexion that has been dulled from the lack of sleep and stress also associated with the season.

This year, having lost the red lipstick that I stole from my mother an embarrassingly long time ago, I found myself in need of a new holiday lip color. And as this is the only time of year I wear it, I wanted it to be perfect a.k.a. turn me into a well-rested holiday goddess, you know? Thanks to some brief beauty stalking and a group text among my more lipstick savvy friends, I narrowed down my possible holiday lipsticks to four contenders. All of which were put to an extensive holiday test. The following results are gleaned from rigorous scientific assessments including: champagne sipping, four course dining, all day shopping, air kissing, real kissing and other arduous holiday activities.

The all-day, it’s not a sprint it’s a marathon, holiday shopping lipstick:

MAC matte lipstick in Russian Red is bold, bright and begets the necessary confidence to power through your gift list (excuse me, Jonathan Trager, but those gloves are mine.) The blue-red color is reminiscent of the bygone era of pin-up models and produces a similar sense of glamour. Its matte formula gives it amazing staying power that won’t give out on that last trip down 5th avenue. And should you bring your girlfriends along, air-kiss away as the color stays firmly on your lips and won’t magically appear on her cheeks.

The holiday work party lipstick:

Rimmel’s Lasting Finish Matte By Kate Moss in 01 is a deeper, more sultry red than the aforementioned MAC iteration. The color complements rather than overpowers. It’s smooth, velvety application is surprisingly moisturizing, hiding any imperfections. Infused with black diamonds (yep) it produces a delicate sheen that doesn’t come across as overtly glossy. You can chat up your boss without worrying about your lipstick migrating to your teeth, as once applied it doesn’t budge. Though it fades faster than the other lipsticks tested I imagine that’s the perfect excuse to bow out gracefully after a few hours… because work parties can sometimes be a sprint – toward the door, not the booze please.

The going-out-and-hopefully-I-find-some-mistletoe lipstick:

Marc Jacobs Lovemarc Lip Gel in Showstopper is subtle and still playful. It’s also the most approachable and kissable lipstick according to my boyfriend who also was pleased with its sugary taste. Thanks to monoi butter and the glossy gel formula your lips look as soft and as plump as they feel. The warm brownish undertones ease the intensity of wearing a red lipstick and the super hydrating gel formula catches and reflects light, giving the illusion of super full pillow-y lips. It’s rich – perfect for a night on the town. It also fades to a pretty stain that lasts through the night (and maybe even the next morning…)

The if-I-could-bring-one-thing-to-the-island Thanksgiving and Christmas dinner lipstick:

Tom Ford Lip Color in Rouge Fatal is the absolute perfect holiday lip color. One swipe and I feel instantly put together, my entire face glowing with that holiday magic. The rich, creamy formula goes on easy and makes my lips look full and smooth. The color is warm and bright without being overwhelming. The luminous glossy finish easily transitions from day to night. The color didn’t bleed or feather and thus didn’t require constant trips to the powder room. From dinner to champagne, it stayed vibrant and left only a little residue on my glass. Like holiday cheer in a tube Tom Ford Rouge Fatal is my new go to when in need of a reminder of how lovely the holidays really are and how much a lipstick can really do.

Photo: John Brian Pierce

Carven’s Guillaume Henry: Fashion’s Newest Heartthrob

There have been too few true fashion heartthrobs since the days of Michael Flinn and Bruce Hulse, unless you count David Gandy and Tom Ford, and I do. For the most part in recent years we’ve gazed at the silver screen for our beautiful man fix. However, thanks to a fast expanding business – just last month he opened two boutiques in Shanghai and a flagship store in London – Carven’s Guillaume Henry has been brought to our long awaited attentions.

Henry is strikingly handsome with bright slate eyes and a full head of perfectly coiffed (as in perfectly awry) brown hair. His boyish grin and cheeky charm lend themselves well to the bright-eyed bushy-tailed reputation now tacked on to his name. He’s tall, slim and wonderfully unassuming.

Not only is he easy on the eyes but his designs are as well. His clothes are sensual and sweet with a bit of coquetry. They are simple, elegant and clever. I find myself switching between daydreams of his face to daydreams of his candy pink wool overcoat that is already sold out in Europe (I have yet to decide which I more ardently desire.)

Fortunately for everyone living in the tri-state area, Carven is opening its first stateside outpost in New York (at 83 Mercer Street, but who’s stalking?) He recently held a dinner to celebrate the new store and while was I not invited, a whole host of competitors beautiful and talented women were, like Ciara and Leandra Medine (both of whom received a monogrammed cloth napkin, the clever surprise of the night.)

But don’t let any of this deter you. I certainly haven’t. Despite his staggeringly good looks (which may cause loss of words and or social skills,) droves of beautiful girlfriends (yes, Alexa Chung is also a very, very close friend) and unquestioned fame, I will be there when Carven finally opens its doors, bright-eyed and bushy-tailed and probably wearing something pink and humming a Lorde song as I read he has a penchant for both.

#LFW: The Beauty of a Masculine Look

Androgyny through makeup is trending on the London runways, with designers like Tom Ford and Erdem focusing on a strong brow and a handsome face. Steering clear of femininity in the traditional sense of plucking and preening, the look still leaves the models beaming. Clean faces feel fresh, and a strong, natural brow feels young.

In New York, Alexander Wang took it all the way; his models didn’t wear a stitch of makeup. In London, the models at Giles were made to look as though they weren’t wearing any, but the cream blush added a glow to the models that was ‘90s Super reminiscent. At Erdem, the look was heavier handed. Eyeliner and a strong, masculine brow took hold, and a boyish side-part kept it from feeling too done. Next to the collection of black and white, where moto jackets paired with florals, the entire show was conversely hard and soft.

Erdem - @lilallimakeup


Tom Ford did his version of androgyny as well. Contoured faces, a strong eyebrow, and windswept hair recalled the natural beauty of Margaux Hemingway.

Tom Ford - @ctilburymakeup

For spring, when there’s the impending sense of vacation and freedom, a simpler routine feels right at home. It helps to know that, as proven here and elsewhere, femininity and beauty doesn’t have to mean curled lashes and pink lips. A groomed brow does wonders for a face. That and a natural glow are all that are needed.

The Color Pink Is Finally Having a Moment

Unless you’re Cam’ron, Paris Hilton or Angelyne, wearing pink hasn’t been universally cool for quite some time. Well, shit’s about to get flipped in a major way, thanks to a few key tastemakers that are wholeheartedly embracing the hue. Starting with Alexa Chung, the perpetual It girl recently revealed the cover of her highly-anticipated style tome, which is a frosty, pale pink and nothing like the navy-black-white color palette we’re used to seeing from her. Notoriously anti-cutesy anything Alexander Wang also surprised us with his latest Resort 2014 collection, showcasing tons of pleats, pinks and even peplum. The one and only Tom Ford is also jumping on the flamingo bandwagon for his men’s Spring 2013 range, and he’s not afraid to get monochromatic with it. See for yourself after the jump.


Chatting with Actor Matthew Goode on His Charmingly Evil Role in ‘Stoker’

English actor Matthew Goode must have an affinity for playing the role of the emotionally and psychologically destructive catalyst. We first fell in love with him in the elegant Brideshead Revisted then Tom Ford’s A Single Man and with his latest role in Park Chan-wook’s fantastical Stoker, we see the darker side of the devilishly handsome Englishman.

In Stoker, Goode plays Charlie, the estranged brother-in-law to Evie (Nicole Kidman) and uncle of India (Mia Wasikowska) who comes to stay with the isolated mother and daughter after the death of his brother. With tales of his world travels, a flair for cooking, and a penchant for gardening, he woos the unstable mother of the house, charming his way into her trust. And although India finds herself reluctant to his friendly advances, she eventually becomes infatuated with him and realizes that the two have more in common than she could have ever anticipated. Goode plays the enigmatic role to perfection, vacillating between innocence and poise and the repressed madness of a villainous spider waiting to bite.

Yesterday, I sat down with Goode to talk about his introduction to the film, taking on such an evil character, and working with the brilliant Director Park.

So I’ve been listening to the film’s soundtrack all week. It’s amazing and plays such an important role in the film. Did you know that the music would be so integral?
I think originally we just knew about Philip Glass. He had written a few of the pieces and I think I was under the illusion he would be doing it all. But I think it’s quite nice sometimes—that’s what happened with Tom [Ford] when he did A Single Man, he used two different composers—to have two different takes. I think it added a lot. And what Clint does is a very different thing.

Well, Clint’s is a character in the movie.
Yes exactly, or many different characters. But it was nice, like some of whistling I did was incorporated into the soundtrack. I was like, wow that sounds quite good!

I loved that it followed you everywhere.
A tune of a lonely man, I love that.

How did you first come into the film?
Well Colin Firth dropped out because he was too busy. He desperately wanted to do it, I know that he loves Director Park, as we all do, but he was very generous and he said, I’d love to be doing it but if it’s anyone it’s you taking it over—which was really nice of him. But it was still a process, it wasn’t offered, so I had a Skype session with Director Park for about an hour and then you know, went through the gamut of auditions and eventually my name just stayed in the hat for as long as it was and I found out a couple months later. It was kind of a long process but thank god it worked out.

What did you think the first time you read the script?
I loved it. I thought it was very different. I couldn’t really put my finger on the sort of genre it would be like and also I knew Director Park’s work from Oldboy so that was very exciting. And I hadn’t worked with Nicole or Mia but had great respect for their work. And the character— particularly his involvement in the story—I just thought was quite fascinating and something I hadn’t done, which is something you always want as an actor, something new to get your teeth into. I was like well, it’s a no brainer.

Were you nervous at about playing this very psychologically dense character?
I’m always nervous. There’s always a first day on set when you’re thinking, oh god I hope I’m not found out. I was always worried about how much are we going to show and luckily, I think Director Park and I were always on the same page of what to try and reveal and what not to reveal and do you want to answer every single question about this guy? But also, you can’t just have a two-dimensional bad guy, you have to try and psychologically make sense, certainly for the actor whose playing it and for the audience, there has to be something there. So I suppose in the sense that this is a coming of age story for India, for Uncle Charlie I felt like it was, not converse to that, but in sense he’s sort of trapped in a childhood state in some ways. All the main characters are so isolated and lonely that you know, as much as the acts Uncle Charlie and India get caught up in are fairly despicable, there is this need and that someone else is like him and he needs to be with them and around them and it’s a comfort to the loneliness.

All of the characters were very pure in their emotion, and acted on everything they felt without remorse for it.
Morally moribund in some ways, you know? They don’t judge themselves, they just do. And it’s sort of animalistic in a way and that idea of nature/nurture and if there’s a predisposition within the family bloodline to commit these acts—which is kind of fascinating. And then you think, who is the prey and who are the predators? And I think within that is that sort of triangle status is which is ever-changing.

How do you prepare to play a character like this who, you have to repress all your knowledge of in order to slowly reveal himself to the audience?
I think that’s always the same for any job that you do, you do all your preparation and then you throw it out the window and commit just to what that scene is about. You’re always jumping around, it’s very rare for you to shoot something narratively—I’ve never done that it would be a real joy actually to go on that journey. So I try not to think about things too much. And this was really rehearsed in a way that I liked rehearsing, not getting it up on its feet too much. It was very much sitting down and reading it rather than trying to block it, because often times you try and rehearse things and you’re not in the environment that you’ll be shooting in and it becomes quite confusing. So we talked about it a lot and whatever scene you’re doing,  you know where your character is on the x/y graph of emotion and the trajectory of your arc, and you go on and do it.

How was working with Mia and Nicole—someone who is such a legendary actress and then this fascinating young women who—
Is going to be.

I don’t think I had any preconceptions. I was slightly nervous meeting Nicole, but the great thing about meeting her is that you just go, oh god you’re so lovely and super professional and super hard-working. She’s quite inspiring really, particularly because I’m a parent now as well and you see someone who is balancing very much their work but also it’s not lost on her that she needs to get home because the kids need feeding; it’s kind of lovely. And she’s a bloody good actress and I thought the combination of all three of us was quite nice. We sort of have the same style. We’re quite good listeners and obviously my character and Mia’s character have a lot in common, so it was lovely working with her. I love her to death, she’s such a sweetheart and she’s quite shy but the more we got to know each other she came out of her shell completely with me. We used to go out a lot because its nice to relax when you’re filming so much and my family was over with me, so we’d often get a babysitter and go down and listen to some country music and hang out in bars. My Mrs. and her would go two-stepping around some honky-tonk bars. She’s such a quality actress though.

Did you spend a lot of time together before shooting, or perhaps there’s the immediacy of not spending a lot of time together because your characters sort of fall into each other and have to grow from there.
I’m sure other directors might have kept us apart until that first day because our characters hadn’t seen each other in 20 years, so they might have thought that was an interesting idea that we’d rehearse separately and then see what happens. But we spent a couple weeks together rehearsing and then went on and did it. I think if we hadn’t know each other beforehand it would have been more of a hindrance than a help. So it was good.

Aesthetically speaking, the film was stunning and so meticulous, everything from the transitions to the colors—
The hair shot? Come on. But India’s hair color is matched to mine actually and she wore contact lenses as well so that our eyes were as similar as they could possibly be because my change color quite a bit. That was tying into the idea the there was this possible pre-disposition in the bloodline, that similarity.

There was a great physicality to your character and the way he interacted with India and Evie, like a waltz between everyone
There is and particularly at the end, and Director Park was talking about this earlier, that final scene is a mirroring of the scene where she says, “But I always lead.” I think really that’s what Mia and I talked about but didn’t rehearse specifically together is the idea of prey and the hunted and the animal and this stealth to the characters, which I’m glad you picked up on.

And of course, I loved the piano scene between you and Mia.
It’s kind of out there!

Well, it was a huge moment in the film. Did you actually play piano?
Oh, I hadn’t played it in 20 years. So I took a lot of rehearsal, had a great teacher, and coming back having not played in so long and playing to a Philip Glass piece was not the easiest—arpeggio crazy!  So it was kind of tough, but we could play like a good 3/5 of the piece and were able to fake the rest by having our hands placed in the right places on the keyboard, not necessarily with the right notes. But it’s nice for the director to be able to lower the camera down and see that we were playing. It was hard because you’re sort of like, you’re doing an action that doesn’t come naturally to you and you’re also having to act at the same time, but I think it paid off really well. I think it’s a really big moment in the film like it’s a big ol’ euphemism for something else. And there’s also the element of, well is it in her imagination? There’s always that extra layer to it.

And it’s the first time it feels very sexual and you can tell she’s changing.
With the feet it’s like a Billy Wilder meets Lynch moment or something.

I loved all of the shots throughout the film of her feet actually and the spider crawling up. And you’re kind of this spider working his way into their lives.
Yes I am! Yes it is, right now! The spider found a home.

So what is the experience like of working with Director Park?
I just adore him. I really do, I think he’s amazing. I love Oldboy from back in the day, so I knew that this is a proper filmmaker with great repute and wonderful respect for his actors and the material. But I think that’s what’s so funny about him, a lot of the films he’s made have such incredible violence but actually he himself is so peaceful and charming and super intelligent and fastidious and exacting. So yeah, there was no problem. We had a translator too so there wasn’t even a problem with communication. It was fairly seamless really and I really zone out listening to him speak Korean, I find it incredibly soothing so he kept us quite relaxed with that on set really.

When you’re playing someone like Uncle Charlie, do you feel like you need to find a way to relate to him? Or do you find a way to get to the core of who he is and just understand more of his motives?
I don’t ask that question to myself but I think there are parts where you go, I don’t have to think about that, I get that. And then there are obviously bits where you have to use your imagination when you’re playing a sociopath but it has to be back up with a kind of psychological truth as well. I give myself quite a hard time as a an actor but not too much on this job, which was good.

Image via Fox Searchlight