Haider Ackermann

But Tom Ford – no one but you saw this coming. I quote you from a recent interview you did for ‘Vogue’: “It wasn’t much of a surprise.” How come?

Mr. Ford and I had always flirted with each other in a professional way. I knew that he respected my work. He wrote me a beautiful letter during my time at Berluti. So when he called I knew this wouldn’t be, like, “Hi, how have you been, let’s have a coffee.” So I was surprised and not surprised.

Did you have to think about his offer twice?

When I heard the most sexy voice in the world on the phone – he has such an overwhelming voice – I was thinking to myself, “I’m going to do whatever he wants.” But yeah, it took me a moment to really think about it, asking myself, “Would I like to do this? Am I really the right person for it? Do I have something to add to his story? Do I have something to say?” It’s easy to take opportunities, but it’s not easy to maintain them. We can all go after the fame and the money. There are ten thousand reasons to accept a job.

Why did you say yes?

When I studied Mr. Ford’s legacy, it became clear to me that our references are the same. We flirt with the same things. We’re both searching for seduction and desire; these are two very big words in both our vocabularies. That’s what’s interesting about us. We come from different angles, but we are searching for the same thing.

You had your own brand for 19 years, and you had to stop it. You almost lost your name, and the right to work under your own name, but you finally won the case in court. That’s not really a question; I just wanted to say congratulations.

Thank you. It’s been a long, complicated situation. A heartbreaking one. That’s also why I withdrew from fashion for a few years. I had to take a step back, to observe and be silent, to understand how the industry unfolds, which direction it takes, and, strangely, to ask myself if I still have a voice in there.

You never really talked about this time in your life publicly and what it felt like to fight for your own name.

Because I don’t think it’s interesting to read about the dirty laundry. But I do want to say now, to a younger generation: when you start, surround yourself with lawyers. Protect yourself. The one thing I take from that period is that I am a free person. No one can own me. No designer is for sale or is the property of anyone. We are free, and we must create without fear.

How does it feel to work under someone else’s name now? Do you feel you can be free?

My first experience of learning to respect the codes of another house was when I was asked to do Jean Paul Gaultier haute couture in 2023. That was an interesting exercise. I’ve had a few things that led me to the role I have now. I worked for Berluti, for Fila, for Canada Goose. But it’s a very strange situation; I can’t deny it. When you enter Mr. Ford’s world, it’s all about Mr. Ford. He represents what Tom Ford is about; it’s all about him. And here I am, a different person coming into the game. Thankfully, I’ve got his full support, which means a lot to me. Otherwise I wouldn’t have accepted the job.

How involved is Mr. Ford?

He is very respectful. He doesn’t interfere at all. He’ll see my work for the first time on the catwalk. It will be a surprise. It was the same with Monsieur Jean Paul Gaultier: he wanted to be surprised on the day. The fact that someone puts so much trust in me gives me the freedom to excel at my job.

I loved your Jean Paul Gaultier couture show. As an Iranian woman, I was especially touched that you chose the Iranian Woman, Life, Freedom resistance song ‘Baraye’ – seeing the models walk to the rhythm of the words.

It’s very important that you mention this. Earlier we talked about how meaningful it was for me to step back and to be silent for a while, but the silence of the fashion industry about what’s happening in the world today is unbearable. We want fashion to be current; we want it to reflect society. I think clothes have a strong voice because they can identify certain periods. We can all remember a specific time just by looking at what people wore. To have this restrained silence now to what is happening in the world is incomprehensible. How can I possibly work on an haute couture show, which is all about putting women on a pedestal, sublimising women in the most gracious way, without thinking about how women today are being deprived of their liberty and their basic rights? How can I be blind to this?

You said Monsieur Gaultier wanted to be surprised on that day. So I assume you didn’t involve him in your decision to play that protest song on his catwalk?

No. But when I went to the CEO and said, “This is the song I want to play,” their first answer was, “We are not politically engaged.” And I said, “I’m not talking about politics, I’m talking about human beings.” And let’s not forget, Monsieur Gaultier was always involved with what was happening in society. He didn’t lecture about it, but he was the first one to demonstrate inclusivity, to talk about Aids, to talk about trans rights. Designers have a responsibility. We are not in a bubble. We have eyes; we see what’s going on. It was very important to me to raise my voice in a subtle way, to make us all think about the women in Iran.

Did you hear Tilda Swinton’s speech last night at the Berlinale? How forcefully she addressed all the greedy governments who make pacts with the devil.

Just thinking about it makes me emotional. Tilda is my sister; she is one of my closest friends. I wish I could have been there, but London keeps me busy. I’m so proud of the words she used in the most noble way. She spoke with so much grace and elegance. I wish more people would raise their voice like Tilda did – I can’t tell you how moved I was and still am…

What are you thinking about?

How strange it is to keep working on collections. We are living in dangerous times. Every day, the news gets worse. Some days I ask myself, “What am I doing?” I just discussed this in a long conversation with my father. You know what he said? “We need beauty in the world. Beauty is more needed than ever, because the outside world is quite ugly. Beauty is a necessity.” So, yes, I am thinking, “Let’s try to make beautiful clothes. Let’s try to do it with dignity.”

I agree. In times like these, more than ever, designers have a responsibility. Especially as clothes create aspirations. Timothée Chalamet was the first to wear Tom Ford by you, at this year’s Golden Globes. He walked the red carpet in a surprisingly understated black suit – the opposite of the Haider Ackermann silhouette we’re used to. Also, the opposite of what we’re used to from Chalamet, who doesn’t shy away from fashion. Are we to expect a quiet Haider Ackermann at Tom Ford?

I had a long conversation with Timothée about his outfit. There is so much expectation about me being at Tom Ford. There are so many expectations around Timothée in general, and especially now that he’s made a movie about Bob Dylan, who is absolutely not interested in fashion, who is one of the most discreet and elegant people, beautiful with words. So we decided: to honour Bob Dylan, let’s be quiet. Also, the red carpet is a circus. People want to be as loud as possible with their clothes. I think at this moment in time being quiet is interesting.

You seem to enjoy doing great things on the quiet lately. You recently joined Canada Goose as their first ever creative director. What drove you to say yes to them?

I like to travel roads that are unknown to me. When Canada Goose approached me, I thought, “They have the wrong person in front of them.” Just the idea that I could lead Canada Goose was very strange to me. I have never worn a puffer jacket. Exploring the functionality of a garment was really a new world for me. At the same time, this was a moment where I was reaching out to nature. I am older now, you know. Back in the day, I lost myself on the dance floor; now I lose myself in nature.

You once said to me that if you didn’t have to work you’d be a nomad, travelling the world. And you do travel a lot. I believe you take a big trip with the same group of friends every year.

Yes. Our last trip was camping in British Columbia. For two weeks we slept in tents on top of our cars. We woke up at 5.30am every morning, going hiking until the sun got too bright. Having space and silence allows me to breathe.

Do you have a trip planned for after your show?

I would love to rent a little cabin for two weeks, just with my love, in a little fishing village in the south of Japan.

Your father was a mapmaker and you spent a big part of your childhood in countries like Ethiopia, Chad and Algeria. I’m wondering how these countries may have influenced your aesthetic.

The first vivid images I have are of Ethiopian women, like a Giacometti sculpture reaching out to the sky, wrapped in metres of fabric blowing in the wind. You know, as a child, no matter your gender, in countries like Ethiopia, Chad and Algeria you belong to the women’s community. It was such a beautiful, mysterious world to me. I was so seduced by the orgies of colour. We didn’t have television or any distraction. All there was, growing up as a boy, was to observe the women. In those days I didn’t know the word “designer,” but, thinking back, those were the days I decided to become one.

Earlier, you mentioned the letter Mr. Ford wrote to you. Do you often get compliments from your peers?

Yes. I know in our industry there is talk about bitchiness and competition, but honestly, in my world, it’s not true. When they announced me at Tom Ford, every designer sent me flowers and letters. When I see a beautiful collection by another designer, I am filled with pride that I work in this industry. It encourages me to try to get even better, to try to push things further. There is so much support between all of us.

Did you send flowers to Matthieu Blazy when he moved to Chanel?

I couldn’t be happier for Matthieu. You know how I said earlier that for a few years I questioned my voice? It was because the fashion industry had become all about social media, all about products. I’m not criticising that; it was just a turn the industry took. I saw fashion going in another direction and wondered, “What am I supposed to do?” I feel it now more than ever: placing Matthieu at Chanel and Sarah [Burton, at Givenchy] sends a very significant message to the outside world. Big fashion houses have a responsibility to choose designers that have something to say, in terms of clothing, and can make younger generations dream about fashion, the way Mr. Galliano made me dream when I was just a young student. He still does today.

Who do you look up to nowadays?

All those architectural designers: Rei Kawakubo, Junya Watanabe, Rick Owens, Nicolas Ghesquière, Olivier Theyskens. I look up to many of my colleagues, as long as I feel they are pushing boundaries, on whatever level: material, cut, gender. I am intrigued by anyone who raises their voice and shows their personality in the work. I am, in general, a big admirer. Every designer that does a great job makes my heart beat.

Talking about pushing boundaries, I think about Tom Ford’s time at Gucci – the G shaved into pubic hair. We don’t really know if that was his idea or Carine Roitfeld’s, his stylist at that time. Often designers develop grand ideas in dialogue with their stylists. Do you work with a stylist?

No. Never for my own collection. I always did it all myself. There was only one person who would come and judge me: the wonderful press agent Michèle Montagne, who has been one of my teachers, one of my guides. You know what’s funny?

Tell me.

I remember so well when you interviewed me for the first time – what, 15 years ago? – at your place in the 10th arrondissement. Michèle Montagne introduced us. And now, for this issue, I have been photographed by the most delicious Matthias Vriens, who I was also introduced to by Michèle. So bless her for being part of this conversation.

What will she think of you doing Tom Ford?

Ahhh, good question.

Haider Ackermann for Tom Ford, or just Tom Ford – what will the label say?

Tom Ford! What’s the point of putting my name on it? I am in the service of the house of Tom Ford. I certainly have an ego, but it doesn’t go that far.