From a stunning beef with the designer Yves Saint Laurent himself to a knockout final runway show in 2004.
And perhaps Ford would like to keep it that way. He famously struggled in his relationship with the late designer himself Yves Saint Laurent, who was, to say the least, not pleased with the direction Ford took the label, .
“Yves and his partner, Pierre Bergé, were so difficult and so evil and made my life such misery,” Ford once recalled, years after he’d left Gucci Group following its buyout by the company that eventually became part of the luxury conglomerate Kering. “I’d lived in France off and on and had always loved it…It wasn’t until I started working in France that I began to dislike it. [In Paris,] you are not able to work an employee more than 35 hours a week.
I agree with him. Ford’s time at Gucci was marked by all those words people use to describe game-changing fashions—Sexy! Iconic! Daring!—with the numbers to back it up But I always find his designs at Yves Saint Laurent captured the romanticism associated with the house, combined with Ford’s signatures of simultaneous simple, clean lines and sumptuous luxury. Under Alessandro Michele, Gucci has gone in an entirely different aesthetic direction.
, with pagoda shoulders and frog buttons. Today, the liberties he took with traditional Chinese dress would be called cultural appropriation—a white man mining the “Far East” for inspiration. Looking back at the cadre of white models with winged, smoky eyeliner and teased hair now, it’s certainly problematic. But in 2004, for better or for worse, the concept of appropriation barely existed—and at 14 years old, I found the collection to be exhilarating.
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