A year ago, I visited the Olivetti showroom in Venice, tucked discreetly beneath the colonnade of Saint Mark’s Square. Designed by Carlo Scarpa, the space stuns with the way it sustains a sense of harmony in possibly the busiest place in the Floating City. Modest in scale but rich in detail, like all of Scarpa’s architectural gems, it’s full of warmth within its overall 1950s minimalism.
Matteo Tamburini’s Tod’s is like Scarpa’s Olivetti – only the context is Milan and the local fashion industry, where other giants shout at the top of their lungs, but all you hear is some mumble jumble. Meanwhile, Tod’s delivers the most supple, butter-smooth and effortlessly chic take on reduction, where there’s no place for the superfluous, and functionality isn’t merely pragmatic, but beautiful.
A close-to-the-body fitted top with elegantly tucked sleeves, like napkins at your favourite restaurant; a leather dress that doesn’t look like a weight to carry, but like caramel dripping down the body; perforated bags and knits – a very Carlo detail, IYKYK – that simply feel breezy and light. Tamburini chooses subtlety over noise and serves a collection that is fully wearable – and somehow exists outside of any trend cycle. Like any great architecture.
ED’s SELECTION:
Tod’s Studded Suede-trimmed Glossed-leather Ballet Flats
Tod’s Tim Zaino Mini Leather-trimmed Suede Shoulder Bag
Tod’s Bauletto Croc-effect Leather-trimmed Suede Mini Bag
All collages by Edward Kanarecki.
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