For Spring 2027, Haider Ackermann continues his conversation with the sensual, unapologetically glamorous world of Tom Ford. Presented in Paris at Place Vendôme, the collection pushes menswear toward something freer: tailoring loosens, shirts disappear, underwear becomes outerwear, and the traditional codes of masculine evening dress are treated with considerably less seriousness.
Ackermann has been steadily developing his own interpretation of the Tom Ford man since taking over the house—a meeting of Ford’s overt sexuality with Ackermann’s more languid, controlled approach to tailoring. His previous collections established slim jackets, long trousers, exposed skin and an after-dark attitude as recurring elements of the vocabulary.
Spring 2027 feels like another step forward.
The Tom Ford Man Gets Undressed
Looking specifically at the menswear in the runway images, one idea is impossible to miss: the suit no longer requires the shirt.
Black jackets are worn directly against bare chests, sometimes with trousers cut long and fluid underneath. A white dinner jacket receives the same treatment, decorated with a black flower while everything underneath has essentially disappeared.
The proportions are particularly effective. Jackets remain precise through the shoulders, but the trousers are allowed to fall longer and more languidly around the legs. It gives classic eveningwear a seductive looseness rather than making it feel corporate.
Then Ackermann takes the idea further.
Several men appear in little more than knitwear, jackets or shirts paired with extremely abbreviated swim briefs. Black briefs open the collection; later comes a striking pink pair beneath a simple camel sweater. Another model walks in a dark blazer, briefs and loafers while carrying what looks like a rigid business case.
It is provocative, but the styling prevents it from becoming straightforward beachwear. These men look as though pieces of a formal wardrobe have simply been removed.
From Place Vendôme to the Pool
That tension between dressed and undressed becomes one of the strongest ideas in the collection.
There are tiny white shorts beneath an oversized white blazer; silky white separates worn loose against the body; an open pale-blue suit with nothing underneath; and fitted black tops juxtaposed against exposed legs.
Even when the clothes become more conventional, Ackermann keeps disturbing the uniform.
A beautifully restrained section of navy and black tailoring is followed by olive green suits, cropped denim, leather jackets, casual polo shirts and flashes of emerald green and powder blue.
The palette moves primarily through black, white, navy, tobacco, olive and blue, before sudden jolts of saturated red, green and pink interrupt the restraint.
And that red becomes particularly important.
Hugh Hefner, Reconsidered
There was also a playful nod to Hugh Hefner, the Playboy founder whose public uniform famously revolved around luxury pajamas and smoking jackets.
Ackermann translated that image into a vivid red silk robe with a TF monogram at the pocket, while languid bathrobe-like trenchcoats appeared elsewhere in silk and leather.
Rather than reading as costume, the robes fit naturally into the broader idea of the collection: private clothes being brought into public.
The bedroom, swimming pool, boardroom and cocktail bar suddenly belong to the same wardrobe.
It is a very Tom Ford proposition.
Sex, But With a Sense of Humor
One of the most appealing things about these menswear looks is their humor.
The barely-there briefs are carried with serious leather weekend bags. Men in tiny shorts wear polished loafers. A businessman carries his briefcase while apparently forgetting his trousers.
And for anyone who might feel slightly chilly wearing a jacket with nothing underneath, Ackermann offered Tom Ford logo T-shirts. The branding also appeared more discreetly as perforated lettering worked into leather jackets.
The accessories reinforce the fantasy. Large weekend bags appeared in leather, crocodile and linen, including embroidered versions, while sharply polished shoes and skyscraper heels heightened the collection’s deliberately exaggerated glamour.
Yet underneath all of that provocation are very desirable clothes.
The olive double-breasted suit is particularly strong. So are the relaxed navy pinstripes, leather bomber, tobacco outerwear, softly constructed blue tailoring and high-waisted trousers.
These are pieces capable of surviving once the runway styling is removed.
Taking Tom Ford Further
What makes Ackermann’s Tom Ford increasingly interesting is that he doesn’t appear interested in simply reconstructing Tom Ford’s Gucci or early namesake years.
He understands the underlying proposition instead: clothes should make the person wearing them feel desirable.
Earlier collections have already demonstrated how Ackermann can combine his own draping and precise tailoring with the sexuality historically associated with Ford. Critics have noted that his approach tends to evoke Ford’s codes rather than reproduce them literally.
Spring 2027 pushes that conversation into more playful territory.
There is a confidence required to walk through Place Vendôme carrying an immaculate leather bag while wearing a cashmere sweater, pink swim briefs and loafers. But that slight absurdity is exactly where the collection comes alive.
Ackermann seems to recognize it himself.
As the designer explained after the collection, he wants the dialogue with Tom Ford to keep moving forward:
“I told the team I want to continue this conversation. Let’s have joy — and take more risks — it makes us feel good — and alive.”
That might be the clearest description of Spring 2027.
The Tom Ford man still owns the suit. He still understands eveningwear. He still carries the beautiful bag and wears the polished shoe.
He just might leave his trousers at home.
