Tod’s

Tod’s creative director Walter Chiapponi created a greenhouse in the pavilion outside the beautiful Villa Necchi to stage the brand’s spring collection, which reflected his desire to employ natural fabrics, such as wool, linen and cotton. At the same time, it offset the “severe elegance, increasingly more essential designs” he said he was aiming for and the ‘60s influences from legendary film director Michelangelo Antonioni.
Chiapponi said he wanted to “move away from his comfort zone,” which translated into an introduction of geometries into the looks, creating for example an effect of shadows on the surfaces of a jacket. He also slashed the offer of apparel in leather — a core business for Tod’s that was mirrored by the plethora of top-notch accessories. Sure, there were suede pants narrow at the ankles or suede details on the sleeves, but only one jacket in leather, which came in mint green. “You almost can’t tell it’s leather,” he said.

The designer’s casual tailoring was even more relaxed than in the past, in warm tones of brown and ecru, as were the field jackets in structured cotton, the nylon and fabric bomber jackets, short and light cabans and anorak windbreakers.

Chiapponi leveraged Tod’s time-honed craftsmanship, delivered interesting accessories, such as the moccasins and ankle boots with curled toes and hand-ruched on the vamp, pointing to the company’s expertise.

The designer was also proud of the Greca belt in rope and without a buckle and of the Tab sneakers — “less active and more lifestyle,” he said, with a whiff of the  models seen on ‘60s tennis courts, and the Riviera slip-on was presented with tassels.  

“I like to be a little snob with this brand — it allows me to be so,” Chiapponi said with a smile.

Tod’s made in Italy craftsmanship was highlighted by its signature Di Bag in leather, presented in a men’s version in different models and sizes, from a small handbag to a weekender — but any woman would be happy to carry one too.

MILAN — According to Milan-based sources, two suitors are interested in investing in Alessandro Dell’Acqua’s No. 21 brand.
A dossier is said to be circulating here and a source said Italian fashion manufacturer Gilmar, which already has a 30 percent stake in the brand, is one of the two parties, while the other is a foreign investor whose identity could not immediately be learned.

Reached for comment, No. 21 and Gilmar denied the speculation.

The first No. 21 women’s collection was shown in February 2010, while the first men’s show was held at Pitti Uomo in January 2014.

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In 2015, Italian fashion manufacturing company Gilmar, which produces the Iceberg line, acquired the minority stake in 2112 Srl, the company operating the No. 21 label.

The brand’s founder and creative director Alessandro Dell’Acqua, who established the upper contemporary firm in 2010, maintained a 70 percent majority stake in the company.

The operation marked an evolution in the relationship between the fashion brand and the manufacturing company, which is owned by the Gerani family that has been producing and distributing No. 21 since the spring 2013 collection.

The brand also offers a bag line and a footwear range, as well as a children’s line licensed to Brave Kid, owned by OTB.

Dell’Acqua started his career in 1995 with a knitwear line called AA Milano, which later morphed into his signature line. He launched No. 21 after losing the use of his name and creative control of that eponymous brand in 2009.

No. 21 is mainly distributed through the wholesale channel and is available at 450 doors, and there are flagships in Milan, Hong Kong, Tokyo, Hangzhou and Wuhan.

There are also nine shops-in-shop in South Korea in Seoul, Busan, Incheon, Cheonan and Deagu.

During his career, Dell’Acqua also designed for La Perla, Borbonese, Malo, Brioni and Les Copains, and created a one-off capsule collection for Tod’s. In 2019, he parted ways with Rochas, where he served as creative director for six years, following Marco Zanini in 2013.

In 2020, No. 21 and Tomorrow London formed a creative and business partnership spanning distribution, events, strategy and the mentorship of emerging talent.

Tod’s creative director Walter Chiapponi arrived to the preview of his pre-fall collection in Milan straight from the airport. A trip to New York left him jet-legged but upbeat as he was impressed by the new energy he witnessed Stateside, one breezing a different attitude and more subdued approach to fashion that signaled the maximalist days are to be left behind as the new year kicks off.

That’s good news for a designer who has proven to be keen to push a more understated take on luxury and to reinvent the high-end lifestyle Tod’s stands for with nonchalance and a pragmatic sense of ease.

In doing so, Chiapponi uses pre-collections as a laboratory to investigate the multiple uses of wardrobe staples, this time focusing mainly on the trenchcoat.

In this concise, urban-chic lineup, he manipulated the codes of the style to conjure different looks: He shortened a trenchcoat to offer a new version of a bomber jacket; multiplied pockets and added a drawstring at the waist to get a polished rendition of a safari jacket; cropped it to craft a functional skirt cinched by a logoed belt in contrasting color, or simply kept the design in its pure lines in a lightweight taupe option.

“The idea is to have one single message and repeat it over and over again,” Chiapponi said. The designer added rubberized effects via fisherman coats in burgundy or electric blue hues, and introduced mannish tailoring reworked in body-con proportions, including blazer jackets fitted to the female body and tucked in matching pants.

Imagining rainy days in a city, Chiapponi also exalted Tod’s craftsmanship via chunky boots, which added to ‘70s-inspired moccasins with a squared toe and the T-Case bag. Developed from a single piece of leather, the bag was folded in a soft, geometric shape, conveying the same unfussy appeal that Chiapponi infused into this wearable collection.

Tod’s turned up the Italian charm on Tuesday night. It had been more than two years since the brand hosted an event Stateside, and Tod’s made the occasion of its New York return an all-day affair. 
The Italy-based brand took over fashion’s beloved SoHo eatery Sant Ambroeus in celebration of “Aria d’Italia: Contemporary Italian Lifestyle,” a new book published in collaboration with Rizzoli. Tod’s invited industry friends to drop by for lattes and small bites before dimming the lights for an intimate VIP dinner.

Guests included Katie Holmes, Kathryn Newton, Lily Allen, Karlie Kloss, Athena Calderone, Casey Freemont, Kate Young, Frame’s Erik Torstensson, and dancer Violetta Komyshan, who was gearing up for several performances of “The Nutcracker” in Minneapolis this week.

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“And Just Like That…” stars Kristin Davis and Sarita Choudhury walked in together, joined soon after by their costar Nicole Ari Parker. The trio, who are in the middle of filming Season Two, were in good spirits as they caught up with Tod’s creative director Walter Chiapponi during cocktail hour.

“We’re very happy to be back in New York, because it’s been almost two-and-a-half years,” said Tod’s brand manager Carlo Beretta. “New York is like a second home and it’s been quite tough not being here for so long.”

Tod’s launched “Aria d’Italia” during Milan Fashion Week and held an event in Tokyo last month before bringing the project to New York. The book celebrates the “new Italian lifestyle,” led by expats. “People who move to Italy, and they start to live and be more Italian than Italians,” said Beretta.

At the end of the night guests got to take a piece of Italy home with them: a copy of the book and an embossed leather bookmark. Not to mention the assortment of Tod’s accessories worn around the room; Davis described her leather bag as “a dream.”

In the spirit of the holiday giving season, the dinner also highlighted a charitable cause. Tod’s made a donation to Citymeals on Wheels, which provides meals for elderly homebound New Yorkers.

“Altogether this year [the] Tod’s partnership has helped more than 6,000 people,” said dinner host Derek Blasberg, toasting the crowd at the start of dinner. “So if anyone needs an excuse to get really smashed tonight: it’s for charity.”

Kristin Davis and Walter Chiapponi

Lexie Moreland/WWD

The women on Walter Chiapponi’s mood board at Tod’s said it all, from Carolyn Bessette-Kennedy and Romy Schneider to Meryl Streep in a still from “Kramer vs. Kramer,” to Lady Diana and Madonna circa 1985.

For Chiapponi, these women are his “chic, timeless icons of style” just as much as they are for Tod’s. This translated into revisiting signature pieces from menswear tailoring, the trench or the biker jacket, for example, in leather — the brand’s bread-and-butter.

However, there were several feminine elements. A sartorial, structured jacket was worn over a leather slipdress, and high-waist pants were paired with a bustier. There was more knitwear, as in a sensual, body-hugging shirtdress. While the pieces were mainly monochromatic, Chiapponi introduced a new eye-catching python print.

For spring, the designer opted for an early-morning show at Milan’s Pirelli Hangar Bicocca for the first time, opened by Carla Bruni and closed by Naomi Campbell, walking through the arresting, post-apocalyptic permanent installation “The Seven Heavenly Palaces 2004-2015” by Anselm Kiefer.

He explained his choice as being in tune with Tod’s previous longtime location in Milan, the contemporary art museum PAC. The location is indeed beautiful, but its imposing size did not allow viewers to fully appreciate the time-honed craftsmanship of the garments, and the mainly earthy color palette, from nude to chocolate, was somewhat lost in the industrial space.

Chiapponi also turned his attention to accessories, introducing the D Bag in a handmade patchwork of different upcycled hides. He unveiled a new Tod’s gommino called “Bubble,” supersizing the pebbles on a hybrid between a sneaker and a ballerina flat, which will most likely sell like hot cakes.

Tod’s again touched down in East Hampton, hosting a fashionable mix of guests to fete the brand’s second season of its Hampton boutique. Hosted at a private seaside residence — where even on a  particularly muggy night,  spectacular views were to be had — the stylish crowd with its mix of loafers and T Timeless handbags was served  Italian-themed cocktails and light bites, before sitting down for a dinner that was grilled ocean side.After the first course the evening leveled up with musical guest of honor Wyclef Jean taking the stage, sheepishly explaining, “We can do this one of two ways — I can play and you all can sit and eat…or you can get up and dance. Which way do you want it?”

Partygoers, including Kelly Roland, an old friend and collaborator of Jean’s, immediately took to the lawn, transforming the event into a once-in-a-lifetime, intimate dance party to Wyclef’s greatest, Grammy-award-winning hits. And with Roland  shaking it on the dance floor, there was even a full-on Destiny’s Child sing-along moment. A one-man musical supernova, the artist played guitar, piano, danced in the crowd and, of course, freestyled about his all-Tod’s ensemble.

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Tod’s East Hampton dinner.

David Benthal/BFA.com

“I was to do 15 minutes,” Jean said to the crowd, who couldn’t get enough dancing to every beat. “But that’s not me, I can go all night.”
Eventually the Haitian performer took a break, letting guests finish dinner, promising to return post dessert.
“The energy from this event demonstrates the essence of the Tod’s lifestyle — Italian, sophistication, boldness and joy,” said Roberto Lorenzini, chief executive officer of Tod’s Group Americas, who said brief words, preferring to let the alchemy of the party continue.

Sasha Lane, Christina Lewis, Loida Lewis and Derek Blasberg at Tod’s East Hampton dinner.

David Benthal/BFA.com

Other guests included Sasha Lane, Kathryn Newton, Joey Wölffer, Neil Patrick Harris, David Burtka, Katie Lee, Jordan Roth, Isolde Brielmaier, Rachel and Neil Blumenthal, Lauren Santo Domingo, Gucci Westman, Natalie Massenet, Erik Torstensson, Colby Mugrabi, Quincy Davis, Rachelle Hruska MacPherson, Sean MacPherson, Sophie Elgort, Tinamarie Clark, Sai de Silva, and Coco Bassey, among others.

Wyclef Jean amping up the crowd, at the Tod’s East Hampton dinner.

David Benthal/BFA.com

Post dinner Jean kept his promise, performing to another dance party on the lawn.

Gigi Hadid opening the Tod’s show in an all-black pantsuit and coat telegraphed creative director Walter Chiapponi’s goal of offering a more essential and severe look for fall.
Existentialism, he said, was a more “comforting and honest” way to present his views, “negating frivolity,” impacted by the last few weeks, and still coping with the consequences of the pandemic.
That’s not to say the collection was monotone. He splashed Bermuda pants and capes with a cascade of sequins — right down to the boots.

Chiapponi also offered color — lots of brown hues reminiscent of Tod’s core leather business; terrific mixed-media outerwear, and lots of cozy knitwear.
The designer embellished jackets with leather patches marked by the brand’s signature gommini motif. The ‘90s slim silhouette contrasted with exquisitely crafted trenches and fuzzy wool coats. Chiapponi revisited the bag made famous by Lady Diana with no lining, making it pliable — “easy to toss into a suitcase because we all hope to start traveling again.”

The designer has been honing a specific look for Tod’s and this collection was one of his best, with a clear point of view and well executed.

For pre-fall, Tod’s creative director Walter Chiapponi wanted to infuse more spontaneity into the brand’s luxe offering, revealing the more casual side of the high-end lifestyle the label evokes.
In taking Tod’s craftsmanship to the streets, the designer put a strong focus on outerwear, functionality and layering, mixing influences, silhouettes and textures to dress his modern “tribe,” as he described the range of characters portrayed in this concise yet solid collection. “They are part of the same community but have individual looks,” explained Chiapponi during a preview in Milan.

Hence the array of different styles showcased, ranging from oversize trenchcoats and quilted parkas to a knitted wrap coat nodding to kilim carpets and shown with matching bags. Chiapponi’s penchant for knitwear also was displayed in an elongated striped cardigan with chunky fringe that had a grungy feel, while the house’s signature leather and Gommino pebble motif were used on a classic, ’50s-inspired denim jacket via eccentric patches on the sleeves. “I like how our Gommino [pebble-sole] leaves a distinctive trace when you walk, so I wanted it to leave a mark in the ready to wear, too,” Chiapponi said.

In keeping with his tactile approach, the designer also played with textures in the accessories, ranging from patchwork bags to options shaping soft leather in origami-like, geometric designs.
A ‘60s vibe ran throughout the strong footwear offering: the bold, square-toed proportions and chunky heels of moccasins and ankle boots exalted the everyday appeal of this urban wardrobe, which was filled with covetable essentials.

Tod’s creative director Walter Chiapponi admitted he may never turn his back on the bon-ton aesthetics he feels is so ingrained in his style – and that is so personal, as it always reminds him of his childhood and his mother. However, for spring the designer wanted to add a tomboyish streak to his designs.
He introduced a strong knitwear component for the first time, with short patchwork dresses or crochet tops with nubby fringes derived from the art of carpet-making. The knits contributed to the comfort factor that is a key trend in Milan.

Skirts were all short, sometimes with raw edges, and Chiapponi kept the cocktail silhouette simple, as in A-line coats.
A ‘60s vibe ran throughout the collection as Chiapponi ticked off Federico Fellini, Anna Magnani and Isabella Rossellini photographed by Robert Mapplethorpe, as well as films such as “La Dolce Vita,” “Rosemary’s Baby,” “ Valley of the Dolls,” and “Breakfast at Tiffany’s” as inspirations – cue the pretty bucket hats. At the same time, models walked in front of photos of artist Carlota Guerrero’s installation at the PAC contemporary art museum – a reminder that Chiapponi is designing for today’s “multifaceted woman,” he noted.

Several looks hinged on details that emphasized Tod’s core material – leather. For example, large pockets in dark calf stood out in contrast on a sand-colored, sleeveless shirt jacket. Chiapponi also combined leather and linen, which gave a short dress a modern and new texture- almost shiny.
The designer also worked with nylon, on colorful, puckered windbreakers for a sportier look.
Chiapponi obviously paid great attention to Tod’s bread-and-butter –  shoes and bags – emphasizing the T signature logo and the pebble motif. Sandals were offered with macro rubber soles – although at times they looked too clunky –  but there were also daintier kitten-heeled pointy shoes.
Small bowling bags embellished with the pebble pattern were jazzed up by vivid yellow, turquoise and bright red hues.

Tod’s is getting into the swing of things with its first seasonal pop-up in East Hampton.
The 1,700-square-foot space at 47 Newtown Lane, which opened quietly Easter weekend, is decorated with printed wallpaper and is inspired by Italy’s picturesque seaside landscapes of Portofino. Illustrations by Italian artist Andrea Tarella portray an elegant view of the relaxed Italian lifestyle with a touch of surrealism.
The shop, Tod’s first in the East End, is located next door to Brunello Cucinelli and nearby to Gucci, which opens Friday.
“We opened softly the weekend of Easter, there are a lot of people living here during this moment, and I think it’s important to be here. Of course, the season will be stronger between Memorial Day and Labor Day,” said Roberto Lorenzini, chief executive officer of Tod’s Group Americas.

In the past, Tod’s has done activations and events in the Hamptons, but never had its own store there.
He said so far the East Hampton store is “meeting our expectations.”
The boutique houses both men’s and women’s ready-to-wear collections and accessories, from the signature Gommino driving loafers and sneakers to the Tod’s Shirt bag and the T Timeless collection of shoes, belts and bags. Exclusives are also available, such as raffia printed sandals and espadrilles, as well as brightly colored macramé braided shopping totes and playful leather charms.

As for what’s selling, he said, “We’re selling a little bit of the collection. We did it on purpose to represent the full summer collection from ready-to-wear to shoes, bags and accessories. Of course, our shoes and bags are the main drivers, but we’ve also sold some pieces of ready-to-wear.”
Specific bestsellers are the Tod’s women’s Kate espadrilles for $645, the women’s Gommini shopping tote for $1,325, and the Tod’s men’s slip on Cassettas for $525.

A Tod’s bag at the East Hampton pop-up. 
courtesy shot.

“The client knows us out there. They go for our spring collections and our summer collections and also our evergreen classics,” he said. Due to the fact that so many people moved to their second homes in the Hamptons,  more people have been shopping than they normally would out East during April and May.

Tod’s sandals at the East Hampton pop-up.
Lorenzini said they will have the pop-up store open for the entire year. There’s a possibility they can lease it as a permanent store.

Tod’s slip-ons at the new East Hampton pop-up. 

Tod’s has 14 permanent locations, and this is its only pop-up in the U.S.
At this moment, Tod’s has no concrete plans to open additional stores in the second half. “We’re keeping an eye open. There are those resort areas around the U.S. that are going to be very interesting to look at,” said Lorenzini.
During the pandemic, Lorenzini said they saw “amazing growth on the digital side.” As for customer behavior, he said the trend has been more casual in general. “As soon as the restrictions lifted, there is a desire for revenge shopping. There’s a desire to actually get back and go out. We’re seeing an uptick in business casual. In general, our brand is casual.”

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