Tom Ford, in town to unleash a grenade of glamour, stuck to what he knew best, on Sunday night: he recreated the exact same shindig, down to the location, decor and hedonistic lighting, that I’d attended the last time he zipped to Toronto for a movie, in 2009.
Like a master tailor who knows a slashed neckline that worked once will work again, the designer-slash-filmmaker hosted one of the most intimate of TIFF gatherings at the Gardiner Museum.
And just like the last time, Tom being Tom, and Ford being fab, he had the Gardiner (a ceramics museum, of all things) reimagined — a blacker-than-black palette, complete with a dark tunnel installed in the lobby of the museum (mood, darling). The main party, on the second floor: lots of white flowers . . . Corbusier-style chaises around the perimeter of the room . . . male-only servers, dressed in sharp black suits with crisp white shirts and itty black ties.
Did I mention that the party really just going at 1 a.m.?
For one thing, Ford’s new film — his long-awaited follow-up to The Single Man — is called Nocturnal Animals, which did make the timing of the shindig fitting if nothing else. In the movie itself — an off-kilter double-narrative reminiscent of Pedro Almodovar’s films — there are many allusions to the insomnia of Amy Adams’ character, which made me wonder if her insomnia was a stand-in for Ford’s own.