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The Tom Ford spring 2025 collection examines “beauty as the attitude of the woman and the man,” serving up sleek, streamlined silhouettes, all inspired by 1960s modernism and the “edgy sleekness” of the ‘90s. Designed by the in-house design team – following Peter Hawkings sudden departure in July after just two shows – this comes to life in tailored cigarette suits and frilly shirts for girls, and slim, sparkly tuxedos for guys, each dressed in a way that mirrors the other.
The Tom Ford woman becomes a key character in the collection, as she uses the bold garments to express her unfettered confidence. In a floor-sweeping caftan, a trapeze dress or a patent mini skirt paired with a tank top or knit turtleneck, she struts her stuff. For the evening, she wears suede frocks or metal mesh sheath dresses all in jewel tones. Thigh high Gladiator sandals and platform shoes carry her from the boardroom to the cocktail bar, while she hides her eyes behind big, bug-eye sunnies. Tucked under her arm, she holds a Neat Clutch or a Hobo Bag. She’s the picture of bold luxury, channeling that same je ne sais quoi as Veruscka in a Rubartelli picture.
The man, on the other hand, has found a new, evocative sense of ease. Tapping into the wardrobe of an “edgy indie musician”, he sports short shorts under formal jackets and satin varsity jackets with skinny shirts; animal print blouses bring in a feminine flair. He’s accessorised by padlock pendants, enlarged aviators and boat shoes, with a clutch, tote or duffle to carry him through the day. It’s Tom Ford personified.
Photography courtesy of Tom Ford.
in HTML format, including tags, to make it appealing and easy to read for Japanese-speaking readers aged 20 to 40 interested in fashion. Organize the content with appropriate headings and subheadings (h1, h2, h3, h4, h5, h6), translating all text, including headings, into Japanese. Retain any existing
tags from
The Tom Ford spring 2025 collection examines “beauty as the attitude of the woman and the man,” serving up sleek, streamlined silhouettes, all inspired by 1960s modernism and the “edgy sleekness” of the ‘90s. Designed by the in-house design team – following Peter Hawkings sudden departure in July after just two shows – this comes to life in tailored cigarette suits and frilly shirts for girls, and slim, sparkly tuxedos for guys, each dressed in a way that mirrors the other.
The Tom Ford woman becomes a key character in the collection, as she uses the bold garments to express her unfettered confidence. In a floor-sweeping caftan, a trapeze dress or a patent mini skirt paired with a tank top or knit turtleneck, she struts her stuff. For the evening, she wears suede frocks or metal mesh sheath dresses all in jewel tones. Thigh high Gladiator sandals and platform shoes carry her from the boardroom to the cocktail bar, while she hides her eyes behind big, bug-eye sunnies. Tucked under her arm, she holds a Neat Clutch or a Hobo Bag. She’s the picture of bold luxury, channeling that same je ne sais quoi as Veruscka in a Rubartelli picture.
The man, on the other hand, has found a new, evocative sense of ease. Tapping into the wardrobe of an “edgy indie musician”, he sports short shorts under formal jackets and satin varsity jackets with skinny shirts; animal print blouses bring in a feminine flair. He’s accessorised by padlock pendants, enlarged aviators and boat shoes, with a clutch, tote or duffle to carry him through the day. It’s Tom Ford personified.
Photography courtesy of Tom Ford.
and integrate them seamlessly into the new content without adding new tags. Ensure the new content is fashion-related, written entirely in Japanese, and approximately 1500 words. Conclude with a “結論” section and a well-formatted “よくある質問” section. Avoid including an introduction or a note explaining the process.
