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.