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On Friday morning in Milan, Matteo Tamburini staged his debut for Tod’s — the show coming at a crucial time for its parent company. Soon after, Tamburini’s predecessor at Tod’s, Walter Chiapponi, unveiled his creative vision for Blumarine. Two critical debuts arriving one after the other: how did they go down?
Tod’s: A safe transition
First, in Milan's historic Darsena tram depot, Tamburini showed his first collection for Tod’s. Vintage trams stamped with the Tod’s logo lined up at the side as if in salute. However, this was the only ostentatious branding; the collection itself was a lesson in quiet luxury. Tamburini played it safe, leaning into the brand’s classics — tailoring, trench coats and, of course, a lot of leather. The palette was a familiar one of neutrals — ecru, camel, brown, grey, black — with splashes of red, such as the fringed red leather Gommino loafer. There was a mix of textures, from wool twill to leather, cashmere and silk, continuing the elevation steered by Chiapponi, who stepped down as creative director of Tod’s in July 2023.
It’s perhaps not surprising that Tamburini, who joined from Bottega Veneta, paid close attention to Tod's house codes. Earlier this month, it was announced that LVMH-backed private equity L Catterton will acquire a 36 per cent stake in Tod’s Group, which includes the Tod’s, Hogan, Roger Vivier and Fay brands. The group will delist from the Italian stock exchange as a result of the deal.
Tod’s Group sales reached €1.12 billion in 2023, up 11.9 per cent year-on-year, but it has yet to reach a critical size — L Catterton’s backing could change that. Now is not the time to risk disrupting sales growth with a bold new creative direction for a house that’s rooted in Italian savoir-faire and refinement.
Blumarine’s romantic pivot
Right after the Tod’s show, editors and buyers rushed across town to catch Chiapponi’s debut show for Blumarine. As industry insiders predicted, the designer laid out a new vision for Blumarine that’s a far cry from the Y2K aesthetic of former creative director Nicola Brognano, who reinvigorated the house from 2020-2023 with high-octane shows that were heavy in butterfly motifs.
Following his predecessor’s fascination with films and characters, from The Little Mermaid to Joan of Arc, Chiapponi’s Blumarine show featured audio from Baz Luhrmann’s Romeo and Juliet. The first look, a mob wife-esque leopard fur coat, signalled a bold mood. But the collection was largely a pivot to romance, with lace brogues, embroidered sheer gowns and delicate floral prints on dresses and silk pyjamas. So, if she’s not the Y2K party girl we once knew, who is the Blumarine woman? “She’s a woman with culture. She's a woman with power. She loves herself, and she doesn't even have to show too much of her body to be considered,” Chiapponi said backstage post-show.
That said, there were some hangovers from Brognano’s version of the house in the form of kitsch T-shirts printed with “I love you” slogans, diamanté logos or small diamantés within floral appliqué dresses (perhaps a new signature, as similar dresses were worn by a couple of guests on the front row). For some showgoers, the collection perhaps lacked direction, with some incongruous track pants that jarred the otherwise whimsical theme. Nonetheless, Chiapponi feels confident he can steer the ship to success. “I’m happy. It’s amazing to be in a place where I can do what I want to do with freedom,” Chiapponi says. “That is really what I want to do for this company, which I’ve cared about for several years.”
Blumarine owner Italian entrepreneur Marco Marchi’s EIH Eccellenze Italiane group purchased the label from Blufin in 2019 before appointing Brognano. EIH Eccellenze Italiane, which also operates retailer Coin, doesn’t release financials, but in 2022, Marchi told WWD he was aiming for group revenues to reach €500 million. It remains to be seen if Chiapponi can propel the label further.
At Tod’s, there was a continuity that is likely to reassure its loyal followers, while Chiapponi took a bigger risk at Blumarine. Which will translate into long-term sales growth? Though analysts are keen to make a call on new creative directors from the off, to determine commercial viability, fashion critics say patience is paramount.
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