Tom Ford is insatiable as a designer. From 1990 - when he joined Gucci - until the present day, the Tom Ford vision has been under construction, and it's a very sexy place to be. From his velvet and satin touches at Gucci - accentuated by the steamy photography of Mario Testino for his ad campaigns - to the February 2006 cover of Vanity Fair, both nudity and sexuality seep from his presence.
• Tom Ford was born in Texas in 1962
• He studied interior architecture at Parsons School of Design until 1986
• By 1999 he had made Gucci worth $4.3 billion (£2.2). "We didn't even have a photocopier at one stage," he admits. "We didn't have any paper"
• In 2000, Ford was named Best International Designer at the first VH1/Vogue Awards in New York
• After Gucci bought a controlling stake in Yves Saint Laurent, Ford was appointed creative director and communications director of YSL's ready-to-wear business, while continuing to design for Gucci
• In April 2004, Ford parted company with the Gucci group after he and ceo Domenico de Sole, who is credited as Ford's partner in the success story that is Gucci, failed to agree with PPR bosses over creative control of the Group
• He subsequently launched his fashion empire, Tom Ford - first with menswear, beauty, eyewear, and then both men's and women's accessories
• He made his directorial debut with A Single Man in 2010, starring Colin Firth & Julianne Moore.
Helpfully, he admits to sleeping just two or three hours per night - keeping Post-It notes beside the bed in case he wakes up with an idea. "I'm lucky, I have mass-market tastes," he says. "When I say I like a shoe, generally thousands of people will like it." Ford's ultimate sign of approval came from his mother, who was heard to demand her YSL discount card after watching his first runway show for the house.
Included on his list of lifetime to-dos are having children (although work commitments and his longtime partner Richard Buckley are currently conspiring against him), and making a film. "That is the ultimate design project," he says. "You don't just get to design what people wear, but you design the whole world and whether characters get to live or die. There is a permanence to film that fashion lacks."