This morning Tod’s opened the day at Milan Fashion Week with Matteo Tamburini’s Spring Summer 2027 collection and, looking at it, the first thing that came to mind was very simple: some brands need to be read, others are understood by the way they are made. Tod’s belongs to the second category. Not because it necessarily has to show a logo or an element recognizable from a distance, but because over time it has built a precise way of working on materials, accessories and proportions. I personally chose these looks because they are the ones I liked most and because, together, they tell this identity well without needing too many explanations.
Tamburini continues to work on a wardrobe that appears simple but is in fact highly controlled. There are wide trousers, Bermuda shorts, trench coats, leather skirts, knitwear, clean dresses and relaxed volumes, yet nothing seems left to chance. That is exactly where Tod’s makes the difference: in the finishes, the bags, the buckles, the shoes, the leathers, in the way an accessory enters the look without seeming added afterwards. I really like this balance, because it avoids that feeling of a collection built to astonish at all costs and instead lets the quality of the project emerge.
Tod’s comes from leather goods and footwear, and that culture is still felt very strongly. The bags have presence but do not weigh down the look, the shoes always seem conceived together with the outfit rather than as an afterthought, and belts and buckles become part of the overall construction. It is a care that shows even when the look becomes softer or more everyday. In fact, perhaps that is where it shows even better, because when you remove the spectacle, the real work remains: the shape, the material, the way a pair of trousers falls, the edge of a jacket, the relationship between a shirt and a bag.
This is what interests me about Tod’s today. Not shouted luxury, but precision. Not effect, but the continuity of a language. Tamburini does not seem to want to turn the brand into something it is not; he is doing subtler work, trying to bring Tod’s craft heritage into a lighter, contemporary and easy-to-wear wardrobe. And in my view the collection works precisely when it manages to do this: keeping the brand’s character recognizable without stiffening it into formulas already seen.
Looking at these looks, the feeling is that Tod’s still has an important advantage: it has a vocabulary of its own. It does not need to explain it from scratch every time. It is enough to observe a bag, a shoe, a buckle, a leather treatment or the cut of a garment to understand that behind it there is a precise product culture. And perhaps this is what I liked most about this morning’s show: the feeling that every detail is there because it serves a purpose, not to fill the stage.
GALLERY
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Alessandro Sicuro
Brand Strategist | Photographer | Art Director | Project Manager
Alessandro Sicuro Comunication
