August 19, 2013 London
Corny or not, white was the foundation of Ford's Spring collection, and it was one reason why the clothes were just about the most energized menswear statement he has made to date. That's because the other reason was that Ford went hog wild for color: to be specific, the kind of tones that sing when they're sat next to white. An eye-popping palette of lilacs, cobalts, pinks, turquoise, and jade—in patterns to match—was forceful enough to hold its own against the hurricane of color, pattern, and texture that Ford kicked off with his last women's collection. And his most decadent indulgences—the shawl-collar evening brocades, the silk smoking jackets, the elaborately embroidered shoes—looked quite literally brilliant in their shiny new shades.
With everything else that was going on, Ford was smart to keep his suits streamlined—nipped jacket, cuffed pants with a single pleat—and his sportswear classic, if a lacquered nylon anorak topping a white turtleneck and a swirling psychedelic swimsuit could be considered such. Well, maybe that would have been the case in the early seventies, a moment that continues to hold Ford in a powerful grip. So powerful, in fact, that you might almost wish our own era could surrender to its horny, confident sophistication, and make the real world go away. Then we could see what Tom sees. Until such transference occurs, this collection is more than enough to be going on with.