Tom Ford’s winter 2025 campaign, the first under Haider Ackermann, appears like a still plucked from an unmade European thriller. Mark Kean photographs Scott Barnhill and Henry Kitcher with Jacob K’s styling keyed to a disciplined mood, faintly conspiratorial.
Haider Ackermann himself calls the advertisement a sequel to his debut show, constructed on the same steamed glass and charged interiors. Only here, the light feels harsher, the kind that slices into morning after a night spent chasing or fleeing. The mirrors fracture, multiplying Scott and Henry until presence itself becomes atmosphere.
Tom Ford Winter 2025 Campaign
Tom Ford’s tailoring steals the season. A pair of purple trousers so bold they could make a Broadway marquee blink, a sky-blue double-breasted jacket cut wide enough to catch the light, taupe bouclé, adorned with sequins, and black tailoring that closes the scene like a curtain.
Ackermann frames his models in a kind of suspended dignity, each pose hinting at something withheld. It is a Ford tradition, this theater of control and allure, but Ackermann approaches it with his own strain of tension. The campaign conveys a cinematic language, one that makes you wonder if the next frame will reveal seduction or betrayal and keeps you watching for both.
