The new TOM FORD Eyewear Autumn-Winter 2026/27 campaign continues work begun by Haider Ackermann on the gaze. Where the runway could organise the entire silhouette, the eyewear here becomes a point of concentration: it frames a face, alters a posture and makes the accessory a tool of portraiture.
A white background, presences
Photographed by Stuart Winecoff, the campaign brings together Liu Wen, Paolo Grebic, Mila Van Eeten, Aluel Makuach, Scott Barnhill, Benjamin Orlan, Ardi H, Kristen McMenamy, Malick Bodian and Alfredo Ramirez. The models are placed against a white background, with no set or props. This reduction of the frame leaves it to the faces, the clothes and the frames to build the image.
The choice is consistent with the way Haider Ackermann had already shifted the house’s wardrobe in the TOM FORD Autumn-Winter 2026 collection. Rigour does not disappear; it becomes the support for a more discreet tension. In eyewear, this tension plays out at the scale of the outline: a fine line, a wraparound lens, a temple that alters the reading of the profile.
The frame as a defining line
The house announces very slim, wraparound sunglasses, as well as optical frames with fluid geometries, generous volumes and sharp silhouettes. This coexistence of taut lines and more open volumes avoids reducing the collection to a single gesture. The glasses do not seek to illustrate a look; they offer several ways of holding the face.
In this register, sunglasses remain an ambiguous object: they protect, but they also conceal; they create distance, while drawing attention to what they hide. The new TOM FORD shapes extend this ambiguity without explaining it. They make a design intention visible, then leave it to the wearer to turn it into an attitude.
A continuity rather than a slogan
The campaign was announced in Dubai on 17 September 2026, with make-up by Lucy Bridge and hair by Tom Wright. It is part of an exploration of seduction already associated with Ackermann’s work for the house. But its interest lies less in the word than in its set-up: removing the set to test what a frame does, alone, to a presence.
At this scale, TOM FORD Eyewear does not present the accessory as a complement. The glasses become a light structure, placed between the face and the world, which can as much clarify an identity as keep it open.
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