MILAN, Mar 2, 2001/ --– The return of the right in fashion received a further boost in a Gucci show that was one of the most conservative Tom Ford has yet designed.

Except for its racy ending passages, the collection was also largely lacking in one of the key components in Gucci's extraordinary success -- sex.

The opening was dominated by zips: used in shiny fabrics on the front of matte black pants, stitched on hip pockets, attached to one side of town coats. Composed of beige and black cashmere with thin horizontal leather stripes and thin belts, his coats were all brilliant.

Ford also whipped up a surefire hit with new, low-heeled Gucci boots and shoes with medieval pointy toes. The footwear came with a radically new Gucci pantsuit for fall 2001, with short, almost boyish pants and tight little three-button bum freezer jackets.

"Hard and soft, soft and hard. Metaphorically and literally," Ford told FWD backstage.

Tom never forgets to set fashion editors' antennae tingling. A group of to-the-knee dresses and sharp coats composed of small silk squares had fashionistas' noses twitching.

But there were some less than stellar moments. A pair of shaggy Yeti coats and some big cashmere sweaters with swooping necks are unlikely to be the subject of extensive copying.

Moreover, the overall mood was far more restrained than what we've come to expect from Ford. Where were the sexy silhouettes we love?

For his finale, Ford rolled out seven semi-transparent baby doll dresses in silk, crepe and velvet, with nicely naughty bustiers, where the models finally got a chance to flaunt their legs.

The Beatles' old classic "Nothing's Going to Change my World" finished the show. But one couldn't help thinking Ford's design demands changed irrevocably the day he also started designing Yves Saint Laurent. This was definitely a Gucci collection, but has Tom's YSL experience already toned down this extraordinary Texan?

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