IT PROVED fitting that on the morning of the Tod’s show, Uber decided to rake up their car prices and I resorted to taking the tram. Admittedly, a tram ride had been on my Milan checklist (it was my first time visiting the city) and as I glided past the queues of editor filled cars surrounding the Via Messina area, I sensed that I had shed the metaphorical training wheels that had initially guided me through Milanese culture. Instead, I felt a sense of belonging and connection with the city, embracing its cherished public transport system.
So, upon arrival and the discovery that the show was to be held in the depot of the historic Darsena trams, I was instantly enraptured by the energy and movement that steers the city.
The show that followed amplified this feeling. Marking the debut of Creative Director Matteo Tamburini, the autumn winter 2024 collection built upon Tod’s refined reputation in quality Italian craftsmanship and textiles whilst also evolving it with a fresh, contemporary vision, one that left guests of the show eagerly discussing and sharing its impact for the rest of the day.
I can attest to this after overhearing multiple gloats of witnessing the beauty of Tod’s AW24 that day. And how beautiful it was.
Tamburini triumphantly tapped into the duality between urban life and leisure, unpicking the seams of Italian style and rebuilding them into a deconstructed luxury that oozed with an insightful aesthetic, one that was fostered during his previous position as number two to Matthieu Blazy at Bottega Veneta.
Womenswear and menswear felt fluid, evidently working in harmony with one another when borrowing key elements to construct alternative variations. The wool suiting and leather trench coats, for instance, offered infinite possibilities for dressing and were styled in multiple iterations to demonstrate the renewable essence of Tamburini’s clothes.
The collection proposed sophisticated silhouettes, celebrating high-quality materials with exquisite construction. Look a little closer, however, and twists to traditional elements are evident. Classic Oxford shirts were worn layered upon one another, cigarette trousers featured large turn ups, and knitwear has become slinky, designed to hang off the shoulder in asymmetrical fashion.
In a similar mindset, a new subtle metal band on footwear displays the latest distinctive feature to the house of Tod’s – spotted on iconic models like the Gommino and the loafer. Less subtle is the Yorky version of the Gommino, which has come alive with bountiful leather fringe, creating captivating movement as it graced the runway.
In response to the increasing demand for accessories, Tamburini unveiled bags with amplified metalware, furry accents, and black leather piping to enhance a broader colour palette. The iconic Di Bag Swing was given a fresh interpretation, boasting inverted handles on either size, a new sizing structure and with saddlery stitching.
Only a handful of the 40 looks did not feature a complementary bag, either elegantly clutched or casually swung alongside the flowing outerwear. One standout piece, reminiscent of a dress bag in its design, subtly referenced the theme of transportation, harmonising with the tram depot setting. The low waist belts were adorned with metalware that resembled a car grill, which when considered alongside the other accessories, underscored Tod’s emphasis on movement and dynamism.
Things are certainly shifting, and the importance of retaining contemporary relevance is accelerating. The provision of heated seats for show attendees, though a small gesture, was the first notable indication of the brand’s commitment to meeting the needs of its loyal audience.
A one way tram ticket to Tod’s, please?
by Lily Rimmer