Tom Ford Fall/Winter 2026-27 Is Languid, Dark and Brilliant

Paris Fashion Week just handed us its most talked about moment and it came wrapped in chalk stripes, dense plastic and a The Beloved soundtrack. At the Pavillon Vendôme, Haider Ackermann presented the Tom Ford Fall/Winter 2026-27 collection to a room packed with Kate Moss, Daphne Guinness, Director Baz Luhrmann and Bridgerton star Regé-Jean Page, all settled into raw cotton banquettes, while models wandered the all-white space like guests at a very exclusive party. The message? Debauchery never looked this gentlemanly.

Tom Ford Fall/Winter 2026/27 | Paris Fashion Week

Ackermann Rewrites the Tom Ford Codes

Tom Ford built his legacy on one very specific idea: power as seduction. The low-cut trousers, the slim leather strap, the unrelenting sex appeal that made his Gucci and Tom Ford eras the most talked about chapters in 1990s and 2000s fashion. Ackermann understands this history intimately and for Fall/Winter 2026-27 he chose to honor it by doing what great designers do: he took the codes and pushed them somewhere unexpected.

The gangster-sharp suits with elongated lapels and wide-leg trousers in chalk and pinstripes are a direct conversation with the tailoring traditions that Ford himself borrowed from 1970s Yves Saint Laurent, who borrowed them from the great Savile Row tradition before him. Fashion has always been a chain of references and Ackermann knows exactly which links he is pulling. But where Ford dressed his men and women to conquer, Ackermann dresses them to wander. Model Scott Barnhill led a trio in immaculate white shirts and narrow ties that felt like the morning after a very good night. The slash cuts and bold angles running through multiple looks gave the precision a restless, almost dissolute energy that is entirely Ackermann's own signature, one he has been developing since his early days at Berluti and Carven. And finally, the leather strap detail, Ford's most iconic punctuation mark, reappeared here as a statement of continuity.

The Coats Stole the Show

Oversize coats in black and white, speckled, spotted and dotted, were among the most covetable outerwear pieces seen in Paris in years. The models wore them with visible delight, which is always the best possible sign. Then came the more unsettling chapter: several silhouettes wrapped in dense plastic, a pointed commentary on the need for protection in an increasingly chaotic world. It could have felt heavy-handed. Instead it felt necessary. As Ackermann put it: "We live in quite a wild world where everybody screams and shouts and tells lies, and there's a lack of humility. For me it was: let's come together."

The Collection Closes on Tom Ford's Most Iconic Signature

The show closed on shimmering silver tuxedos, softly speckled and growing more debonair with every exit. The low-cut trousers accented by a slim leather strap, Ford's most recognizable signature, made their appearance. Tom Ford himself has been absent from fashion for years, currently in Rome filming Cry to Heaven, based on Anne Rice's novel. Yet his presence has never felt more alive. Demna mined his Gucci era heavily this season, his Yves Saint Laurent years are being referenced across Paris, and here at the Maison that bears his name, Ackermann is writing his own chapter in the same language. And right now, that language sounds very, very good.

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