Tod’s Men’s Spring 2027, titled “The Italian Wardrobe,” was shown at Villa Necchi Campiglio in Milan under creative director Matteo Tamburini. The collection drew from Luigi Ghirri’s 1984 photographic project “Viaggio in Italia,” translating its attention to everyday surfaces, light, and lived moments into a wardrobe built on Pashmy, super light double wool, and hand-stitched leather details. The palette ran from beige, cocoa, terracotta, and ocher to stone gray, dusty blue, and washed azures.
- Tod’s Men’s Spring 2027, titled “The Italian Wardrobe,” was shown at Villa Necchi Campiglio in Milan under creative director Matteo Tamburini.
- The collection drew from Luigi Ghirri’s 1984 photographic project “Viaggio in Italia,” which documented Italy’s landscape through everyday surfaces, light, and lived gestures.
- Key pieces include the Brera Bomber, the Castello blazer with patch pockets, and the ultralight Solferino Shirt, all executed in Pashmy.
- Super light double wool — typically reserved for coats and cabans — appeared in pullovers and zipped hoodies with hand-stitched leather details.
- The Gommino loafer returned with a new leather accessory referencing the interlocking closure of the Greca belt.
Tod’s returned to Villa Necchi Campiglio for the Men’s Spring 2027 collection. The Milanese rationalist villa, with its clean geometry and period interiors, has become a reliable backdrop for the brand’s seasonal presentations, and Matteo Tamburini used it again to frame a collection he titled “The Italian Wardrobe.” The name is direct. So is the intention behind it.
Tamburini’s starting point was “Viaggio in Italia,” the photographic project Luigi Ghirri conceived in 1984 to document the Italian landscape. Ghirri’s project was not about monuments or postcard scenery. It was about the ordinary: light on a wall, a gesture caught mid-motion, the texture of a surface worn by use. Tamburini translated that sensibility into fabric and cut. “I was interested in translating into the collection this idea of everyday details, surfaces, light, gestures and lived moments, avoiding a nostalgic approach and instead looking for a more attentive way of observing things and finding beauty in real life,” he said.
The result was a collection that stayed close to Tod’s established register — relaxed, precise, functional — without retreating into formula.
How Tamburini Builds Fabric-First Silhouettes in Classic Shapes
The shapes this season are deliberately classic. Tamburini said as much: “This season we focused even more on the fabrics as the shapes are classic.” The distinction matters. When the silhouette is settled, the material carries the argument.
Pashmy, a soft fabric central to the collection, appeared in the Brera Bomber, the Castello blazer with patch pockets, and the ultralight Solferino Shirt. Each piece uses the fabric differently — the bomber in a relaxed outerwear register, the blazer with structured patch pockets that add utility without weight, the shirt in its lightest possible form. Super-light double wool, a material more commonly associated with coats and cabans, has moved into pullovers and zipped hoodies. The leather details on those pieces are hand-stitched, a construction choice that keeps the garments within Tod’s craft tradition even as the silhouettes shift toward casualwear.
The Gommino loafer, the brand’s most recognizable footwear, appeared with a new leather accessory referencing the interlocking closure of the Greca belt. It is a small addition, but it connects the shoe to the broader collection logic: familiar forms, reconsidered at the level of detail.
The Palette and the Customer Tod’s Is Addressing Now
The color story is consistent with the Ghirri reference. Beige, cocoa, terracotta, and ocher anchor the wardrobe in earthy, sun-exposed tones. Stone gray, dusty blue, and washed azures extend the palette toward cooler registers without breaking the overall sense of faded, lived-in color. The effect reads as vintage without being archival — garments that look as though they have already been worn, already absorbed some light.
Tamburini was clear about the commercial intent beneath the aesthetic choices. “There is a stronger return to daily wear, which should reflect Tod’s approach to فیشن,” he said. The collection is not built around occasion dressing or statement pieces. It is built around the wardrobe a man reaches for without deliberation — the bomber, the blazer, the hoodie, the loafer. The quality is present in the fabric and the stitching, not in the silhouette’s drama.
That positioning is specific. It addresses a customer who already knows what he wants and is looking for the version of it that will last.
Tamburini’s reference to Ghirri is not decorative. It is a working method: look at the ordinary with more attention, find the quality in what is already there. The collection does not push Tod’s into new territory. It refines the territory the brand already occupies, with better fabric choices and a clearer sense of who the clothes are for. That is a harder thing to do than it looks.
Images Courtesy of Tod’s
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