Matteo Tamburini showed up to today’s presentation dressed head-to-toe in Tod’s (naturally) wearing a gray flannel blazer that was soft-structured and just boxy enough to look intentional, a fine cashmere jumper layered over a dark tartan shirt, and a pair of relaxed, rounded-leg beige chinos. Chinos, he pointed out, “that go perfectly with my Gommino suede moccasins,” a claim difficult to dispute, given the evidence at his feet. He personalized the look with his trademark baseball cap. The result was a sort of cool formal-meets-casual look, the kind of outfit that is obviously considered without ever seeming overthought. “That’s the vibe I want to convey through my work at Tod’s,” he said, dressed like someone who meant it.
There was a touch more formality than usual in the fall lineup, unveiled, as ever, at Villa Necchi Campiglio. Suiting edged in quietly, flanked by relaxed pieces whose luxe tactility had been subtly dialed up, without disturbing what Tamburini described as “a real, quotidian, lived-in way of dressing.” As usual, the interest lay in what didn’t announce itself. A padded piumino that looked almost unassuming was, in fact, smooth matte silk. A neat jacket with a nod to Austrian hunting gear turned out to be extra-light double cashmere. Pashmy leather, an especially soft, suede-like version with pashmina ambitions, was cut into a straight jacket and paired with faultless denims.
“It’s about equilibrium, not showing off,” Tamburini said. The collection favored restraint over spectacle, presence over effect. Materials, cut, and small construction decisions did the work, revealing themselves gradually rather than all at once. “The clothes don’t chase attention or relevance.” Tamburini remarked. “They assume both will come, eventually, on their own terms.”
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