How does personal imagery become personal style over time? That was Matteo Tamburini’s question for spring. The answer began with some soul-searching: the images, films, and music he absorbed growing up as a teenager in the 1990s—a decade that also happened to be when Tod’s established itself before its boom in the early 2000s. “It connects both me and the brand,” remarked Tamburini.
He used those shared references as raw material, translating them into a sportier, more contemporary wardrobe while retaining Tod’s instinct for dress codes. The point was not to choose between the two, but to let them rub against each other. “We didn’t want to resolve their differences; we wanted to mix them and leave those differences intact,” he said. “Formal becomes less formal, losing rigidity; sport feels more considered.”
Tod’s familiar codes provided some connective tissue. The Gommino, with a perforated polka-dot motif, reappeared across ready-to-wear and accessories. Leather remains Tod’s real laboratory: Cut out, exposed, worked into ultra-light intarsia that mimics fabric, or treated by hand, it was pushed beyond its obvious possibilities. A seemingly simple nubuck coat, for instance, was marbleised; fluid leather dresses and skirts brought back silhouettes that might otherwise have felt foreign in Tod’s vocabulary. The experimentation was less about making leather perform a trick than making it behave in ways you might not immediately associate with Tod’s.
Colour blocking brought graphic geometry to the clothes; sailing was referenced in draped dresses, with easy folds framed by leather edges. Rectangular panels were attached to otherwise straightforward skirts, creating movement as the wearer walked, while loose squares of fabric or leather became asymmetrical miniskirts whose geometry softened with motion.
And movement was ultimately what kept the collection from becoming too neatly resolved. Trousers in Windsilk, a silk-nylon fabric with the lightness of parachute material, caught the air as they breezed past the audience. Panels shifted, skirts swung, and draping appeared almost spontaneous and mobile. For a house whose most recognisable object is a driving shoe, it was a fitting proposition: Tamburini keeps Tod’s moving. It definitely gets somewhere, while keeping its feet firmly on the ground.
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