Jessica Alba wrapped in a gray cashmere coat and Xiao Zhan dressed in head-to-toe autumnal brown sitting front row at the Tod's show embodied the brand's ideal customer: polished, understated, elegant and, simply put, well fixed up.
Matteo Tamburini, appointed creative director in December, is sure to cater to those customers and they will find plenty to choose from in his debut collection. In fact, upon being named head designer of Tod's after his experience as Matthieu Blazy's number two at Bottega Veneta, he proved himself up to the task with an edited, focused line-up with a strong point of view that did not stray away from the image of Tod's. luxury and the artisanal tradition of the brand, evolving that of its predecessor, Walter Chiapponi, without completely altering it.
Tamburini chose the Milan tram station dating back to 1912 as the setting, in keeping with a collection that exuded timeless luxury but was practical at the same time. It would be just as easy to hop on a streetcar in a beautiful leather trench coat, oversized field jacket, or leather-trimmed wrap cape as it would be to get off a plane or private car. In fact, the designer's outerwear stood out, like the spectacular leather and wool double men's coat in a faded blue hue worn by Irina Shayk. Tamburini said he was attracted to Milan's “bourgeois and industrial mix” and the “dynamism of the 1980s and 1990s.”
Knitwear was also a focus, as she revamped the classic twin set by layering cashmere or wool and silk knits over cardigans and offered pastel-colored vests made from boiled cashmere. The trousers were characterized by large cuffs and were worn under a series of folded men's shirts or single-breasted tailored jackets that had a slight Western feel.
Tamburini played with Tod's signature pebble-soled gommino loafers, embellishing some styles with fine leather fringes, and debuted a slew of brushed leather equestrian boots that reflected the brand's experience with fur. The same goes for its reinterpretation of the Di Bag with inverted handles on each side and displayed in large volumes. A small geometric metal band reminiscent of the radiator grill of a car and a discreet T were the new logos that the designer discreetly introduced.
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