With a photo of a red-headed Julia Roberts wearing a pinstriped suit on his mood board, Tod’s creative director Walter Chiapponi said that he was thinking of a tomboy — “but not grunge” — for his fall collection. “We must return to the rigor of constructions,” he said ahead of the show, which was once again held at Milan’s Pirelli Hangar Bicocca.
That may be, and the designer did present several masculine suits; beautiful floor-grazing, oversize and structured coats with leather-covered buttons; a peacoat with an hourglass silhouette, and severe one-button jackets with prominent shoulders and without lapels. However, there were also some feminine dresses in silk, draped and ruched at the waist or on the breasts, and pantsuits embroidered with crystals.
In fact, Chiapponi admitted the collection hybridized feminine and masculine elements and swung from either super short to super long. Across the board, it was sophisticated and sleek.
The super short skirts allowed Chiapponi’s take on Tod’s core shoes category to stand out, such as the pebble soled ballerinas with leather laces at the ankle, or the new platform pump with furry vamps in shearling whose shape had a ’40s vibe. The bags were structured and small, reminiscent of the camera cases of yore.
The color palette ranged from warm tones of camel and cream to brown, which sometimes tangled with the arresting, post-apocalyptic towers of the permanent installation “The Seven Heavenly Palaces 2004-2015” by Anselm Kiefer, ending with monochromatic black and white.
The lack of decorations and prints contributed to the “almost algid,” essential image the designer said he wanted to convey. However, he underscored sensual touches contrasted with the minimalism of the designs, as in the long leather trench that would have been perfect for 1967’s “Belle de Jour,” the film Chiapponi again cited as a key influence in his fashion.