#TOM GORD MOVIE#

Because you’re experiencing it in the way that the director wanted you to. You know if there’s an old film you haven’t seen, it’s a new film. That rush will never be recreated, whereas in film it can be. The very first time you saw it on a woman or man. The very first time you saw it on the runway. You can look back at something and you can admire it and say, wow, wasn’t that incredible? But it still doesn’t have the rush that it did the very first time you saw it. There’s a kind of story that you can tell in film, that you cannot tell in fashion. So, of course, Book 2 investigates your career and life as a director.

#TOM GORD MOVIE#

The vegan thing came because I watched a movie What the Health? and once a year I go to this place where I fast for five to seven days and I was doing that and watched that film and somehow thought, you know, I don’t need to eat meat anymore so I stopped.

I have no desire to have a drink whatsoever. And it’s a very different life it sounds very dull, but I don’t know. I drink caffeine, I play tennis, I take care of my son. And yeah I don’t drink, I don’t smoke, I don’t do drugs. I’ve been vegan for about four years, but lately I’ve been eating a little bit of fish every now and then. That was one of the reasons I needed to stop. When I was an alcoholic, well, I guess I still am an alcoholic, but when I drank I was a highly productive alcoholic it didn’t hinder my work until maybe right at the end. I didn’t stop drinking until well into the development of my own brand. So was there a moment of epiphany when you pivoted on that aspect of your life? So I wanted to take that with me when I left and I wanted to put my name on it. I made my case at Gucci and then later at Saint Laurent. I say in the book that you get to give the world your taste once. And there really were not complete collections. The reason why I wanted to do that at the time was, yes, Gucci and Saint Laurent existed way before I went there, but in the case of Gucci, there really were not runway shows before I went. Looking back at that phase of your career and your first book, how do you see that and contemplate that now at this distance? I think with the first book there was a very strong sense of the legacy you had created at Gucci and Saint Laurent. But honestly I’m seeing it through the lens of having just lost Richard, and now it takes on a different meaning. I do wish I had more time to sit at a cafe and have an omelet mixte and a Coca Light you know, so it’ll be interesting to see what I do now. That excitement fuels over and I feel more creative, but it is weird because it also makes you realize how fast it all goes. I think I’m often the best when I’m working on multiple things at the same time because I’m excited about one thing that I’m doing and that spills over onto everything else because I’m happy. I don’t actually know what I would do without working. How have you managed to be so productive? Really in so many ways, now personally as well, it was the end of the chapter and the end of a period in my life. I remember what city I was living in.” And so it was cathartic in that way and very odd that Richard decided to leave the world at the same time. Because looking at family pictures you immediately go, “Oh god, yes I remember. And same with Nocturnal Animals and fashion. I looked at it a gazillion times while editing it, and I went through all its premieres and that was it. We’re always worried about what are we going to do next? And now what am I going to do? I haven’t seen A Single Man since I made it. The most interesting thing about it is that in fashion we rarely look back. Fifteen years and turning 60-it was time to look back. I was turning 60 and my company was around 15 years old when I started the book.

So, that one really is the first chapter, and this is the second chapter, and I long to have a third chapter. Where you’re living, what you’re doing, what your experiences are.

I think fashion moves in a chronological way with each season as a reaction to the season before and a reaction to where you are as a designer at that moment. I wanted to continue it and I wanted to continue the same chronological format. Looking back at the first one, what do you think of it? It’s intriguing because I suppose in many ways, of course, it’s a counterpart to the first book from 2004, which was such a cataclysmic year for you. Well, Richard said, when I showed it to him was-very dry-he said, “Well, it’s a lot of water under the bridge.” Then he turns and walked out of the room. Well, it’s certainly been an exhilarating lift going through the book, I have to say.

Tom gord