Why Anselm Kiefer’s majestic concrete towers backdropped Tod’s latest runway show

Tod’s creative director Walter Chiapponi tells Wallpaper* the story behind his S/S 2023 collection, presented amid Anselm Kiefer’s monumental The Seven Heavenly Palaces at Milan’s Pirelli Hangar Bicocca

Models walking on runway with concrete towers as a backdrop at Milan's Pirelli Hanger Bicocca
Tod’s S/S 2023 at Milan’s Pirelli Hangar Bicocca, presented alongside Anselm Kiefer’s permanent installation The Seven Heavenly Palaces (2004). Image: courtesy of Tod’s
(Image credit: Tod's)

‘I have always had this strong link to the world of art, even before fashion,’ says Tod’s creative director Walter Chiapponi, who initially studied the discipline before shifting to design (and is a stalwart of Milanese fashion, with roles at Gucci, Miu Miu and Bottega Veneta before joining Tod’s in 2019). An avid collector – particularly of contemporary photography – he owns works by Wolfgang Tillmans, Nan Goldin, and Larry Clark, while Keith Haring and Jean-Michel Basquiat were the impetus behind a recent street art-inspired collection of accessories. 

Tod’s S/S 2023 at Milan’s Pirelli Hangar Bicocca

Concrete pillars designed by Anselm Kiefer for the S/S 2023 collection

Anselm Kiefer, The Seven Heavenly Palaces (2004). Image: courtesy of Tod’s

(Image credit: Tod's)

It was an altogether more monumental artwork that provided the backdrop for the designer’s S/S 2023 collection, shown in Milan this past weekend (it was his second runway show since prior to the pandemic, and his fourth full collection for the house). Taking place in the vast main hall of the Pirelli Hangar Bicocca – a former manufacturing plant for the Italian tiremakers, now a contemporary art institution – Anselm Kiefer’s permanent installation, The Seven Heavenly Palaces (2004), loomed over the runway. Comprising seven towers in concrete and lead, appearing as if made from sliced apart and stacked up shipping containers, it explores the themes that have run throughout the German artist’s output – spirituality, memory, civilisation.

‘Ruins are a beginning. They are not some sort of level zero,’ said Kiefer of the work at the time. ‘The towers in Pirelli Hangar Bicocca seem to have collapsed in on themselves, but their precarious situation, their nullity as well as our nullity makes us believe in our individuality.’

Carla Bruni walks in Tod’s S/S 2023 with beige outfit, bag and shoes

Carla Bruni walks in Tod’s S/S 2023. Image: courtesy of Tod’s

(Image credit: Tod's)

Chiapponi says he chose the space for its feeling of ‘poetic and philosophical reflection’, imagining the show as a ‘symbolic path, among these very high towers, where the rough material of the unbalancing, not perfectly aligned concrete blocks is in contrast with the clean, straight, precise, and very light lines of the garments’. (Kiefer initially found inspiration for the work in ancient Hebrew texts charting a spiritual journey towards God.) 

‘I like the space’s immensity, its prominence, and the fact that there are no barriers, but only a large open – but still closed – space. I especially love that there are no points of light, which makes everything more mysterious and melancholic.’

Anselm Kiefer installation at the S/S 2023 collection

Anselm Kiefer, The Seven Heavenly Palaces (2004). Image courtesy of Tod’s

(Image credit: Tod's)

Opened by Carla Bruni and closed by Naomi Campbell, the collection saw archetypal womenswear – ‘essential pieces and iconic garments’ – filtered through the designer’s sensual, 1990s-inflected lens, with a particular focus on leather (lightweight and soft to the touch, the designer said he ‘treated it like a fabric’). ‘[It is] ethereal and grandiose,’ he says, a reflection of the space’s own majestic proportions. ‘Everything is dramatic, but in perfect balance.’



Fashion Features Editor

Jack Moss is the Fashion Features Editor at Wallpaper*, joining the team in 2022. Having previously been the digital features editor at AnOther and digital editor at 10 and 10 Men magazines, he has also contributed to titles including i-D, Dazed, 10 Magazine, Mr Porter’s The Journal and more, while also featuring in Dazed: 32 Years Confused: The Covers, published by Rizzoli. He is particularly interested in the moments when fashion intersects with other creative disciplines – notably art and design – as well as championing a new generation of international talent and reporting from international fashion weeks. Across his career, he has interviewed the fashion industry’s leading figures, including Rick Owens, Pieter Mulier, Jonathan Anderson, Grace Wales Bonner, Christian Lacroix, Kate Moss and Manolo Blahnik.