Haider Ackermann finds the sweet spot between seduction and restraint at Tom Ford
Everyone once in a while a runway show transcends the season_ eclipsing expectations and injecting a genuine sense of excitement into the month-long fashion marathon. That moment came in Paris with Haider Ackermann_s presentation for Tom Ford Autumn Winter 2026.
Paris Fashion Week is no stranger to spectacle - see Dior_s spectacular multi-million euro production set in the Tuileries gardens - but this show felt almost deliberately restrained. Perhaps it was the intimate setting rather than a colossal venue. The cube of white walls initially appeared dimly lit_ the colours and silhouettes slightly obscured_ until the eye adjusted and the room seemed to glow. Gradually the space revealed the clothes in full clarity_ as if the lighting had been calibrated to slow the audience down_ forcing attention onto the models_ and of course_ the clothes.
Some of the magic came from the interplay between the men and women on the runway. Ackermann styled them with a shared vocabulary: deconstructed tailoring_ slouched trousers worn low on the hips_ sharply cut jackets_ shirts opened just enough to hint at skin. There was confidence in their sex appeal_ an attribute that has always been central to the DNA of Tom Ford. The brand_s founder_ Tom Ford the person_ built a reputation for selling desire_ from the provocative campaigns that helped propel Gucci back into the spotlight in the 1990s to the now infamous diamanté G-strings that defined the decade_s unabashed glamour.
Ackermann_ however_ brings a different register of sensuality. His version is less high octane and more subtle_ expressed through proportion_ colour_ fabric and gesture rather than shock value. The result was a co-ed dialogue that felt natural rather than gimmicky_ a rare thing on contemporary runways where gender-blending often feels forced or comes across as a budget necessity.
Ultimately it was the clothes that did the talking. Tailoring formed the backbone of the collection: sharply cut suits rendered in classic materials_ dense wool_ pinstripes_ and textured bouclé. Jackets hugged the torso while trousers slouched at the hip_ sometimes secured by a band across the waist. The silhouettes flirted with exposure but never lost their composure_ revealing skin while projecting attitude.
Flashes of irreverence
Crisp shirting finished with Dalmatian-printed collars_ a wink of humour against the otherwise disciplined palette. Denim appeared washed and lived in_ worn with a nonchalant ease that felt possible to wear from a board meeting to a night out. Red lipstick punctuated the women_s looks_ while cognac-coloured pieces brought warmth and depth to the palette.
One particularly memorable moment came in the form of a checked suit worn by a seasoned model whose slicked-back grey hair suggested a life well lived_ a subtle reminder that seduction_ in fashion at least_ is not the exclusive domain of youth.
Pieces in conversation
Ackermann frequently sent the looks out in pairs or small groups_ allowing the outfits to converse with one another. This staging reinforced the sense of cohesion that ran through the collection: men and women sharing silhouettes_ fabrics and attitude. It created a rhythm on the runway that made the clothes feel part of a broader wardrobe rather than isolated statements.
Even the more experimental pieces felt surprisingly grounded. Transparent plastic outerwear_ seams deliberately visible_ managed to look wearable rather than conceptual_ a reminder that the best runway theatrics are those that still translate into real wardrobes.
In an era when fashion often struggles to balance spectacle with commercial appeal_ this collection managed both. Many viewers could easily identify a piece they wanted for themselves_ a suit_ a leather jacket_ a slouched trouser. And in luxury fashion_ where aspiration remains the most valuable currency_ that ability to generate desire is no small achievement.
Finding his footing
Ackermann_s stewardship of Tom Ford is still relatively new but already notable. The Colombian-born designer_ adopted and raised by French parents and educated at the Royal Academy of Fine Arts Antwerp_ was appointed creative director of the house in 2023_ following its acquisition by Estée Lauder Companies in a deal valued at approximately 2.8 billion dollars_ which closed in 2023.The fashion division itself is operated under licence by Ermenegildo Zegna Group_ a structure that places considerable pressure on the creative direction to deliver both cultural relevance and commercial momentum.
Three seasons into the role_ Ackermann appears to have found his footing. He has carefully balanced the codes of the house - glamour_ sensuality_ impeccable tailoring - with his own sensibility_ which leans toward poetic restraint rather than overt decadence. It is a delicate equation_ especially considering that Tom Ford himself remains a living figure with a formidable legacy in modern fashion.
The result_ at least this season_ was a collection that felt both respectful and independent. Ackermann did not attempt to replicate Ford_s past; instead he translated its spirit through his own lens. In doing so he offered something increasingly rare during the relentless fashion calendar: a show that left the audience energised rather than exhausted.