Matteo Tamburini is settling into his rhythm at Tod’s, refining the precise, pared-back aesthetic he first introduced three seasons ago. But today, his approach felt fuller—warmer, more layered, more assured. And let’s talk about the outerwear, because it was some of the best yet.

The presentation took place at PAC, Milan’s Contemporary Art Pavilion—an austere modernist structure from the 1950s, bombed by the Mafia in the ’90s and later resurrected, a fitting metaphor for reinvention. But the real moment happened upon entry: Carla Bruni-Sarkozy, statuesque and striking, standing atop a high plinth, wrapped in a recycled leather blanket by artist Nelly Agassi, holding an oversized needle like some kind of couture deity. A quiet nod to Tod’s artisanal savoir-faire, sure, but also a coup de théâtre that left the room collectively slack-jawed.

Tamburini is a designer who thinks in materials. Craft was at the heart of this collection, with sleek, almost architectural silhouettes softened by lush, tactile textures: brushed alpaca so plush it looked airbrushed, impossibly smooth leathers, ribbed mélange knits, shearling so dense it verged on decadent. “I wanted to emphasize the feel of the hand and make the surfaces eloquent,” he said at the preview, referencing the textural experiments of Italian artists like Carla Accardi, Alberto Burri, and Lucio Fontana. The outerwear stole the show—slender, elongated coats cinched just so, belted at the back or left to hang with quiet confidence. A standout? A slim, tailored jacket in thick brushed-alpaca jacquard, its raw, furry edges just undone enough, paired with a matching scarf that framed the face and black trousers tucked into tall leather boots. A lesson in elegance with an edge.

Minimalism is no longer a monolith; it’s become fashion’s universal language, open to interpretation. Tamburini’s take had a softness to it, a quiet sensuality. Olive-green double-cashmere capes, lined in leather, draped over peacoats in the same shade. Sleeveless dresses with undulating, asymmetrical hems and elongated bodices that skimmed the body, moving just enough to catch the light. “I wanted to convey a version that feels less dry, less flat,” he said. And he did. His minimalism isn’t cold or sterile—it’s expressive, poised, and, crucially, deeply wearable.