Tom Ford and Mugler spring 2026 reviews

It is not often that people leave a fashion show rinse desire. It is not often that they leave anywhere these days in such a state. There is too much flesh available everywhere to really hurt you. But after the Tom Ford show on Wednesday evening, you could practically feel the heat increase.

Haider Ackermann’s second double -sex collection for the house, held in a dark room with a mirror floor like a swimming pool on which the models started to prowl, touched a place that had been alleged for a while.

Sexy has always been a Tom Ford signature: often garish, always manifest. Mr. Ford was, after all, the designer who shaved a G in pubic hair of a model for an advertising campaign when he was in Gucci and made sparkling pasties in a festive dress for his own label. But this kind of impetuous and nasty exhibitionism has become banal.

When Taylor Swift puts for his latest album in a crystal bra and panties like a burlesque dancer and Sabrina Carpenter puts on her hands and her knees for hers; When you do not wear pants at the Met Gala is the biggest trend of the night and Lauren Sánchez Bezos puts on a serrated corset for the presidential inauguration, this kind of sexy turns into a pose of soft pop culture.

This is why the beginnings of Miguel Castro Freitas at Mugler could have been such an opportunity. In a beginning season, it was one of the smallest – at this stage, the house is widely known for its scent angel rather than its clothes, and Mugler does not have the same resonance as other brands that change from creators such as Gucci, Dior or Versace. But Mugler has once defined a certain type of attraction, riding the line between the camp and the glamor to offer a singular vision of female domination. There was potential to start again.

Instead, Mr. Freitas relied strongly on the history of the house with second -hand shoulders, aggressive wax sizes, poker, latex and leather skirts. Sometimes a strap or two, a little pure and a fringe, the nipples that rushed. A star dress was even suspended from the nipple rings of the model (the collection was called Stardust Aphrodite).

The designers generally seem to think that visible nipples represent the border border final, but the fact is above all that they make the models seem cold. And the clothes seem disconnected – without puns. The challenge is to capture the spirit of the house, not just the silhouette.

And that is why Mr. Ackermann, one of the great romantics after Dark in fashion, was intelligent to exchange sex for a suggestion in his Tom Ford. Partly by abandoning the scene now made for the media made for the media for one for real clothes and people of the play, to better present not only what these costumes and dresses and thongs could do and where they could take you, but how to wear them.

On the soundtrack, David Bowie’s “Heroes” looked like a groan. The models often walked close to each other, rather than in a strict line. They looked at each other and have sometimes established direct visual contact with the public, rather than looking at fixed way. In fact, they really seemed to want to touch each other.

It was contagious. When a woman in a white silk robe (coat? Dress? Real bathrobe? Could have been the above) took a pose at the end of the track, it was difficult not to think that she was about to detach her belt and – huh. She did not do it, but the pure possibility did this rare thing: you suggest more.

Well -surrounded tightened trenches recovered everything, but their bright patented leather had been cut like a mesh, so when the body was moving, it created shadows along its curves. Even the combination, in the Ackermann signature palette of peony, lemon, baby blue and sapphire, as well as classic black and white, seemed full of subliminal promises.

Not because the only thing worn under many jackets was a small black bra, but because the jackets and pants were not oversized (the season’s trend) or lean. They framed the body, then left something to imagination.

Most of the time, anyway. The vaporous lace lingerie dresses with the straps left extra-long, male leather lanes under tiny nylon athletic shorts and G strings under transparent dresses were less subtle returns to days of Tom Ford origin.

But then, there was the long black tunic with a neat round neck and cap sleeves carried on pink pants that turned not to reveal a back (the sleeves worked like a hook, holding it). The smoking dress that completed around him to reveal lightning of celadon silk below at each stage. And the final black dress with a bodice made up of a large strap that crawled the chest and on a chest for loop around the neck and tighten the other, like a scarf or a hand. Can you feel it?