At Tod’s, Matteo Tamburini continues to refine the sensitive approach he has brought to Tod’s. For spring 2027, he looked once again to the rituals of Italian life; not the cinematic Italy of grand gestures and postcard vistas, but the one found in small habits, weathered surfaces, and the natural elegance of everyday routines.
“I started from a very simple idea: to continue exploring an Italian way of life defined by authenticity, quality, and a natural relationship with objects,” Tamburini said at today’s presentation. It was held in the blistering heat at Villa Necchi Campiglio, whose beauty proved almost, but not entirely, a match for Milan’s relentless heatwave.
Simplicity, however, is seldom simple. Tamburini’s point of departure was Viaggio in Italia, Luigi Ghirri’s seminal 1984 photographic project, which offered a new way of seeing the country: attentive rather than sentimental, curious and slightly raw rather than steeped in clichés.
Tamburini translated that gaze into clothes that seemed to have “absorbed life rather than merely dressed for it,” he said. There was no trace of souvenir-shop Italianness here, no operatic flourishes, no sun-drenched rhetoric. Instead, the collection lingered on details: the softness of a supple Pashmy jacket thrown over the shoulders, the patina of soft leather improved by wear, the ease of a silhouette designed for moving through the day rather than performing in it.
Tailoring appeared relaxed but exact; volumes followed the body without insisting upon it. This is the particular genius of Italian dressing—the ability to look well put together while appearing as though getting dressed required little more than opening the wardrobe and trusting instinct. As they say, in Italy even indecision can look elegant.
“An Italian wardrobe for today, precise with a certain ease, built around functionality and a natural sense of elegance,” is how Tamburini described it. Luxury at Tod’s resides in construction, in material, in the discreet confidence of things made exceptionally well. As Tamburini noted, it’s “a kind of luxury that does not need to declare itself too loudly.”
Materials remained central to the house’s vocabulary. Featherlight suedes, supple leathers, washed linens, and richly tactile surfaces underscored Tod’s longstanding commitment to craftsmanship. The palette felt equally grounded in reality: sand, stone gray and dusty blue were punctuated by warmer flashes of rust and terracotta.
Particularly compelling was the ongoing Pashmy project, Tamburini’s exploration of softness pushed to almost improbable extremes of lightness. Leathers acquired the hand of cashmere, while wardrobe staples took on a new fluidity. The featherweight shirt exemplified the exercise: cut with precision, yet nearly immaterial in feel. “I liked the idea of transforming certain wardrobe classics into pieces that feel more intimate, more sensitive,” the designer said.
Two complementary identities coexist at Tod’s, and Tamburini continues to balance them deftly—the house’s artisanal expertise on one side; a more urban and modern sensibility on the other. “Viaggio in Italia served less as a destination than as an attitude,” said Tamburini. The mood he has brought to Tod’s is measured, sophisticated without unnecessary emphasis; there was something refreshing about clothes that simply asked to be lived in.
