Matteo Tamburini began the fall collectsion with protection on his mind. “Perhaps this search comes from the times we live in—not as a form of closure but as a desire to remain grounded,” he reflected. “For me, continuing to create is a conscious choice. It comes from the need to still believe in the value of making, in the handcrafted, in time, in quality as an act of responsibility. Offering the body a form of shelter today is my way of staying present.”
On his mood board were images of sculptures by Marta Pan and Henry Moore, artists who worked on the idea of form in relation to the body. They were pinned alongside patchworks by Sterling Ruby and black and white photographs by Daido Moriyama. References, more often than not, have a habit of sounding more convincing in theory than in the fitting room; somewhere along the way, they tend to get lost in translation. In Tamburini’s hands, however, the conversation between inspiration and expression stays sincere, the thread never merely conceptual.
Moore’s sensuous volumes, for instance, translated into the enveloping gesture of wrapping asymmetrical sheets of soft leather around the body, producing a blanket-like dress that left the back exposed, appearing at once protective and seductive. A similar tension emerged in smooth, angular ponyskin capes tossed over coats and peacoats, achieving shapes with presence without heaviness or excess volume.
Moriyama’s atmospheric visions of snowstorms against ink black skies were transposed onto leather, shearling, and ponyskin, drifting across slender dresses and tube skirts paired with abbreviated tops—lean silhouettes that neatly counterbalanced the collectsion’s more sculptural flourishes. Ruby’s patchworks, meanwhile, proposed surfaces built in bold, emphatic blocks; that same visual logic carried into dresses and skirts cut with clean edges, their graphic precision lending a structured poise.
Tailoring pursued a studied equilibrium and a lived-in feel. Blazers with gently sloped shoulders were drawn in at the waist by slender leather cords, each tipped with a metal initial of the model wearing it, a detail that also reappeared on lapels and wrist bracelets. A discreet, gentle gesture. There’s a calibrated economy to Tamburini’s design that never tips into severity. Instead, it registers as a form of disciplined sensuality, considered and persuasive.
