Tod’s opens its Fall/Winter 2026/27 campaign not on a runway but in a garden, at Villa San Martino in the hills of northern Italy, with three models draped over a burgundy 1960s Jaguar E-Type as though the shoot were an excuse to linger outdoors a little longer.

Shot by British photographer Alasdair McLellan, in creative director Matteo Tamburini’s second season at the house, the images are deliberately loose: someone leaning on the car door, a thermos and a breakfast spread balanced on the boot, no one quite looking at the camera.

The clothes follow the same unhurried logic. A camel trench worn open over olive tailoring, a shearling-collared jacket with the ease of something borrowed from an older relative’s closet. Tod’s is calling this new chapter Italian Stories, and rather than overstate the point, the campaign settles into a specific, familiar idea, that particular talent for looking put together without appearing to have tried.

A handful of pieces anchor the season. The Di Bag, one of the house’s enduring shapes, gets reworked into a slouchier bowling-bag silhouette, while the T Signature Bag, all sculpted, angular lines, remains the one collectors line up to personalise.

On footwear, the Metal Dots loafer picks up a row of hand-set gold studs along the heel, and the Red Dot Sneaker, marked by its signature red heel tab, stays light and technical underfoot. Closing out the lineup is the Pashmy Bomber, cut from the house’s featherweight suede, more pashmina than jacket in the hand.

It trades spectacle for something closer to a lived-in weekend. From a house built on a century of quiet Italian shoemaking and 133 rubber pebbles, that tracks.