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.
Tom gord update#
Advising large multi-nationals on the update of their global information security policies and alignment to ISO27001.Some of my recent work highlights include: employee vetting and background checks.Covid-19 testing and the collection and use of vaccination data.data breaches and data breach reporting.data subject access requests (DSARs) and other rights requests.data processing agreements (DPAs) and data sharing agreements, including Schrems II risk mitigation and intra-group data sharing.data protection impact assessments (DPIAs).transparency requirements, including internal and external privacy notices.information security and acceptable use - including ISO27001/2 requirements.data privacy as part of GRC, and building effective privacy policies and processes.
I have considerable experience of running projects across multiple jurisdictions, both inside and outside the EU, and work with clients in the media & entertainment, tech, finance, legal, and marketing sectors. Sitting within both Lewis Silkin’s data, privacy & cyber group and top-tier employment law division, I advise leading multinational organisations on data privacy issues.
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