Zimmermann (Q3740)
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Australian fashion label
| Language | Label | Description | Also known as |
|---|---|---|---|
| English | Zimmermann |
Australian fashion label |
Statements
Despite the murky currents and prevailing winds buffeting luxury right now, Zimmermann is riding a wave. A new Soho store just opened in New York, and 14 more outposts will follow before the end of next year. During our preview, Nicky Zimmermann said the latest ETA on the house’s Paris studio is six months: “It’s going to be amazing. We’re going to have a full atelier so I’m going to be working between Australia and here, which is pretty incredible.”This show tried to lessen that distance. As they entered the Palais de Tokyo space, the audience was shown snippets from a 1970s Aussie surf movie namedMorning of the Earth. Its sun-drenched footage (which can be seen in a remastered trailer on YouTube) showed boy and girl surfers shaping boards and raising chooks and carving waves in Australia and Indonesia. Zimmermann said she’d been in touch with its Bellingen-based director, Albert “Albe” Falzon, both to secure permission and to discuss the collection. “He’s unreal,” she said: “a gorgeous man. And we had the same vision of the light in Australia, and what it does to colors. I was trying to explain how I wanted to bring that through, and reflect the movement of surfing in the flow of the clothing, and use fabrics that looked like liquid.”Zimmermann’s opening look set the tone: a dress in marine blue organza with a braided macramé bodice from which flowed sets of wave like ruffles. There was a series of core day pieces, cropped trenches and strappy utility shorts and shirt dresses in soft and springy viscose drill that would return in various fabrications as we progressed. There was an Aloha print that showed kangaroos amongst the palms. A skirt and a crinolined dress in organdy shot with fine-filament metal at looks 40 and 41 really did share the same blissful shine of sun bouncing off ocean.The theme helped Zimmermann and her team develop some really interesting propositions. Jersey dresses in bronze were built around sections of wetsuit-sturdy neoprene that provided both stability and a platform from which the fabric could flow. Little details, like a pair of super-light cotton corduroy trousers or the shell and carved dolphin necklaces, were satisfyingly consistent with old school, lo-fi surf culture. Bags included fringed rattan baskets and a slouchy mid-sized leather one whose strap was set against hardware shaped to resemble a rack of boards.
A cropped smock top in what looked like raw linen voile was edged with wavelets and embroidered with a sunray-surrounded yin and yang mandala design. Neither too literally surf nor too literally 1970s, this collection adapted the Eden-like spirit Falzon captured in his movie, then demonstrated how appealingly it sits adjacent to the Zimmermann ethos of joyful and fun self-expression through clothes.
30 September 2024
Nicky Zimmermann has been in the business for three decades and in that time has perfected her ability to connect the past with the present. Herresort 2023 collectionlooked to the ’50s and ’60s for inspiration; while herfall 2024 showhad a touch of the ’70s. This season, she looked back to her days at design school in Sydney in the ’80s, when Molly Ringwald was Hollywood’s It girl. She reminisced about spending time at vintage stores searching for pink dresses, lace outfits, and old suits, and used that as the starting point for her collection.While lace has been a familiar textile in many Zimmermann collections, this season she wanted to push its boundaries. “We worked with an artist on reinterpreting lace as a print so we drew little icons like lipsticks and love hearts,” the designer explained. The hand-drawn print was then taken to the computer and printed against an airy and transparent organza that created a trompe l’oeil effect when seen at a distance.Zimmermann’s signature floral prints were present, but this time she added a leopard motif—a callback to her first collection which featured swimsuits and dresses in the bold pattern. “Leopard print works hand-in-hand with floral. It may not be something I always put in shows, but it is very much a part of the DNA of the brand,” she added. A surprising addition to the collection came in the form of sneakers, which got an elevated design treatment with the same lace fabric from the looks; the shoes added a touch of ease to all the frills and glam of the clothes.
7 June 2024
Asked how the beautiful, elaborate illustrations that defined this collection transferred from 2D to dress, Nicky Zimmermann motioned to a model standing nearby and outlined how a landscape print extended from the underside of one arm, across the body, and over to the other. Although you can only glean scattered details from the runway photos of the fluid batwing dress or floaty skirt, were these garments part of your wardrobe, you would find yourself appreciating their embedded art.They came from several sources including 1920s fashion magazine covers (used with permission, of course) and, more surprisingly, from the Australian actor Barry Otto, who drew the Aubrey Beardsley-meets-‘70s illustrations of the opening looks. “I could not put this incredible art on a tube dress,” Zimmermann amused.Not that she ever would. From the billowing blouses—a nod to artist smocks—to the tiers of godet pleats, Zimmermann has spent three decades creating allure through soft volumes that move with ease. Today, there was a lot of swish and sumptuousness: flounces concentrated down low, large sequins on flapper sheaths, handkerchief appliqués puffed up by tulle. Amidst the delicate lace, basketweave knit and supple leather, proportions appeared thoughtfully considered to arrive at ultra-feminine silhouettes. “It’s very much about doing what we love doing; we don’t deviate,” Zimmermann said.Recently, though, the brand has been tracking towards mannish—both sartorial and workwear—yet styled with animal print or sparkle as though reveling in a certain duality. It’s a smart evolution. Through a decidedly Zimmermann lens, a denim flight suit, ample trousers and chore coats confirm there is more than party dressing here.Where other collections have not shied away from a peep show this season, Zimmermann developed pretty lingerie that could kickstart a new category. Given the brand’s private equity windfall last summer, expansion in all directions is surely top of mind, and a must-have Zimmermann bag seems like a no-brainer. Retail, meanwhile, is in overdrive with at least 10 store openings slated before the end of the year. Soon, women in Dubai, Monaco, Austin, Munich, Venice and beyond will be discovering dresses that feel tried and true. This was a collection that will speak any language.
4 March 2024
“Easy and hot” was Nicky Hilton’s positive précis of Nicky Zimmermann’s collection as we hustled out of the show. That would be the end of this review were it not so complex to make clothes that appear so easy to wear.It was hot all round. On a scorching Monday morning—in October!—the skylighted Palais de Tokyo venue was as steamy as a shearer’s armpit. As we marinated preshow, it made you think that beyond-resort heat-wave wear for these increasingly frequent mercury-busting days might be a canny category to emphasize. With its sunny Sydney DNA, Zimmermann is already au fait with this territory. In a collection that contained three main and sometimes intermingling strands—sportily versatile jersey, cotton, and knit pieces; volumized many-ruffled and guipure-edged georgette and charmeuse dresses; and slouchy but smart tailoring in denim and leather—at least 50% looked a breeze to wear even in the Palais sauna.The pastel all-color jersey/cotton/knit looks resembled off-duty dancers’ attire, built for freedom of movement but not visually defined by technicality: a compelling alternative for the yoga-pant constituency. This sporty duality carried over into racerback white lace crops, which were used as formfitting eveningwear base layers over pretty, vaguely Sicilian baptism-gown butterfly-and-flower-pattern voile dresses edged with more cappuccino froths of lace.There was similar genre-blending in looks that placed spaghetti-strap, sometimes semi-sheer tiered mid-length backless dresses over appealingly generous, carrot-cut washed jeans, or light lace tops under textured tailoring. Another strong side story for when typical October weather kicks in was told through wide-leg nappa culottes and shorts with paper-bag waistlines, as well as a shirt-trench hybrid in the same material. There were snuggly Lurex-shot high-cut hoodies too. An emphasis on the empire line, ever reliable, recurred episodically across the collection.The dresses included a caped and draped robe in graduated dégradé patches of violet, orange, and pale yellow derived from abstract landscapes. Zimmermann said the often layered and backless flower-bomb gowns and shirtdresses had been purposefully given a washed, faded finish because “we want it to feel that the girls are walking and the flowers are just around them.” Sometimes garlanded with lace petals and handsome golden jewelry, including bunch-of-grapes earrings, these had a Dionysian freshness to them.
There were no bags on the runway, said Zimmermann, because her Paris design studio is currently being upgraded and expanded and she isn’t yet ready to show what’s being cooked up. She added: “Bags are so open for us as a brand. We sell clothing—and we sell a lot—but we don’t really sell accessories. But you’ve got to get it right. I want to love it. When we do get it right, the potential is enormous.”That potential will be part of what prompted a significant private-equity buyout of the brand this summer. Zimmermann said its essence remains much as it was when she founded it back in 1991. “It’s not particularly intellectual, you know—it’s about making women feel beautiful and having fun and hopefully being able to make memories through what they are wearing.” Watching the preshow preparations ratchet up, she added: “The best thing is when you are with the models and they are getting dressed and you can see that they are pretty happy to be in the clothes. They’re playing in the garments—that’s a good sign! It’s really important for us that the models actually like what they’re wearing because they bring everything to life.”
2 October 2023
On a recent trip to Madrid, Nicky Zimmermann came across a group of people dancing in the street. “That would never happen in Australia, and it was beautiful,” the Sydney-based designer said. It had already made an impression, but when Zimmermann saw a similar scene in Paris, she found the inspiration for her resort 2024 collection. “When I got home, I found these amazing photographs of people at their local dance halls in the ’50s,” she said. “I loved the energy and exuberance. I loved the hint of the 1950s, which we tried to do in subtle injections.”With long, bouncy A-line skirts, colorful floral and bandana prints, and short-sleeve blouses with permanently rolled sleeves, Zimmermann captured the spirit of a 1950s dance without veering into poodle skirt and saddle oxford territory. A dress with a fitted bodice and barrel skirt opens the collection, its classic shape slightly offset by trim pointy-toe flats. This and many other pieces were made of a semi-sheer silk linen organza, which lent a lightness to the feminine, structured silhouettes.Zimmermann is known for lavishly embellished clothes—the white gown with ruffled cuff and a tumbling high-low skirt are prime examples—but the dialed-back offerings this season work well. The 1950s can quickly become costumey, but a plaid crop top and matching body-hugging pencil skirt, as well as a velvet duck-yellow slip with a beaded and diamanté neckline struck a happy medium.As the look book progresses, it gets into New Year’s Eve party territory: a mauve tuxedo with contrasting black details, structured strapless tops, a white miniskirt and cropped blazer set. It’s a departure from the rest of the collection, to be sure, but appropriate for the many needs resort needs to address.
8 June 2023
Zimmermann, the Australian brand that makes instantly recognizable dresses tricked out with frills, florals and flounce, is getting into denim. “I wanna feel more relaxed,” said Nicky Zimmermann, speaking backstage after the label’s second Paris show. “And I wanted to have a synergy between the denim and the dresses. We’ve been slowly building and denim has been doing really well for us. We have a slightly different approach to it I guess, in that it’s very much about going with our ready-to-wear.”Translation: the Zimmermann girl is wearing a billowing printed silk kaftan trimmed with delicate lace over baggy indigos this season. Plus a lace bustier over high-waisted drainpipes with an oversized checked blazer. Floor-sweeping denim maxi skirts and shirts are in her repertoire, too, glammed up with a snow-white bouclé jacket. And she’s wearing cowboy boots and chunky gold jewelry with everything.Of course, this being a go-to occasion wear brand for a certain type of well-heeled woman, the ultra-feminine fit-and-flare dresses, some styled with giant floral corsages, were still in evidence. Romance was in no short supply for fall, largely thanks to a partnership with the National Gallery of Victoria which allowed Zimmermann to adapt the work of the 19th-century Australian painter Rupert Bunny to comprise pretty impressionist prints and a vibrant color palette. Bunny moved from Melbourne to London in 1884, relocating to Paris shortly after, eventually marrying a French woman—whereupon his style became even more influenced by the Belle Epoque.There was a hint of an analogy in there somewhere, Zimmermann being an Australian success story that started out 30 years ago with a Paddington Markets stall in Sydney, now seeking Parisian lightness as it eyes European expansion. “It’s a nice link,” Zimmermann agreed, “but also I know how hard it would have been at that time to take off and be confident enough to come and work in London or Paris.” She needn’t have worried about the reception today: after all, Paris is the unofficial capital of “le jean.”
6 March 2023
Australian designer Nicky Zimmermann had roller coasters on her mind for spring. That’s one way to tackle a Paris debut in a season where war, recession, natural disasters, and energy crises have served as a backdrop for this latest spin of the fashion carousel. The specific roller coaster she had in mind once ran from one end of Sydney’s Tamarama Beach to the other, comprising a key attraction of Wonderland City, an amusement park that operated between 1906 and 1911. It showed up in her collection on color-pop, postcard-print dresses and Edwardian-inspired corsetry. These on-theme elements were combined with dresses composed of lace offcuts and trimmings intended to resemble seaweed, and a billowing stripy dress that was a nod to circus tents.Zimmermann’s business is taking off in Europe in a big way, so much so that her brand is establishing a second design studio in Paris. Backstage after the show, she said she felt a switch to Paris from the New York schedule, where the Sydney-based label had been presenting its collections since 2013, was a natural progression. “We were stuck in Australia for three years during COVID,” she said, shrugging. “I like change. I look forward to doing something different, and I want to keep learning, to keep moving forward.”Zimmermann’s strength lies in making clothes that are pretty and uncomplicated—you couldn’t attend a wedding this summer without encountering one of the brand’s flattering floral dresses on a guest. The strongest looks here were the simplest: Lithuanian model Giedre Dukauskaite in a cream bouclé skirt with a bomber-jacket–style vest semaphored nonchalance, while a series of linen caftan and maxidresses in the postcard print looked like the sort of thing the Zimmermann girl will be reaching for to hop from yacht to beachside bar next summer. Ultimately, the more refined silhouettes were also the ones that connected most with Zimmermann’s positioning as a label promising an affluent Australian lifestyle revolving around beach parties and Insta-worthy holidays. The front row, decked out in whimsical florals and broderie anglaise despite the October chill, seemed to be loving it. “We are a feminine, optimistic brand. It’s about enjoying life,” said Zimmermann. And who could argue with that?
3 October 2022
Nicky Zimmermann feels comfortable designing for resort. “It’s a collection that we really have fun doing,” she said, calling out the easy silhouettes and breezy dresses as clothes that “feel nice when you wear them. For resort, that’s what we’re about.” This season she was inspired by photos of glamorous people in the 1950s and ’60s sailing, images she described as “beautiful, idyllic, romantic, relaxing.” It’s certainly more pared back than the abundance of astrological references in her fall 2022 collection, but, as it’s Zimmermann, the collection is still far from simple.Let’s begin with the most basic silhouettes: the knits. There’a throw-on-and-go cream dress with navy laces at the neck; a shorts and sweater set with a sailboat detail on the bottom left corner of both; and cream pants and a sweater with flouncy cuffs and a wrap-around tie at the waist. Each outfit you could imagine a Kennedy wearing on a boat, or perhaps a character onSuccession. In short, they look rich and stylish; not a bad thing.Another palette cleanser, of sorts, is the elevated casualwear that feels truly plucked out of the ’50s and ’60s. The strawberries-and-cream striped pedal pushers and boat-neck top are quite literal to the inspiration, but they work. The boned bustier on a white mini dress also resembles a vintage undergarment. But here is an example of Zimmermann’s differentiating factor: At first glance, the white dress is just a white dress. Look closer, and the lace skirt features embroidery of a map of the world.These pleasantly-surprising details are repeated throughout the construction of the designs: the bouncy hemlines reinforced by crinoline, the floral appliqués that take up to two weeks to apply by hand, the sheer blouse heavily embellished with pearls. This is the Zimmermann archetype: intricate, elaborate, feminine gilded lilies. That makes for compelling occasionwear, though it also makes the more minimal outfits stand out. When you get tired of wondering “who’s that girl in the fabulous lilac mini,” turn your attention to the person in white lace bermuda shorts.
6 June 2022
What does the Zimmermann girl wear into fall? It’s easy to imagine her in summer, tossing on an elaborately embroidered, frilly minidress after a day on Bondi beach. The colorful florals that designer Nicky Zimmermann has become synonymous with just beg for 80 degree weather. The colder months don’t support fantasy quite as well—with the need for coats and layers—but that didn’t stop Zimmermann from trying. She has to. Her business in the Northern Hemisphere continues to grow (after New York Fashion Week, she’ll head to Florida to open three new storefronts).The designer looked to the stars this season. The focal point is a series of 12 zodiac prints designed by the Scottish artist Anita Inverarity, which depict an avatar for each sign along with the animal they’re associated with. “I work in an office with a lot of young people and we’re always having conversations like, ‘you’re the Aquarian, would you mind cleaning up your desk?’ and they’ll say ‘you’re so annoying; you’re the Virgo,’” says Zimmermann (who is indeed a Virgo.) “It struck me as funny that people actually do say those things.” The prints—which appear on dresses with crinoline-enforced bouncy hemlines, colorful tights, and, for the Leo, a catsuit—make you want to find your semi-personalized outfit. Fortunately, it’s not immediately obvious which star sign aligns with which dress, in the event that a Capricorn falls in love with the Aries colors.Back to dressing for colder weather. At a moment when every celebrity style star seems to be in desperate need of a catsuit, Zimmermann is showing several, mostly as layering pieces. Naturally, they’re used as a base layer under more casual ensembles (though for Zimmermann that’s a relative term), but even two of the three finale dresses are paired with tonal lace catsuits. For more warmth, chunky cream ponchos and sweaters are après ski-ready, and the jacquard coats with fur trims would have Penny Lane foaming at the mouth.Many of the designs get better the closer you look at them. Zimmermann creates a big—and immediately recognizable—effect. The special appliqués she decks each piece with, then, feel like both a love letter to the wearer, and something that even those who prefer a more pared-back aesthetic can appreciate. A mini dress with heart-shaped puff sleeves, a 3D trim running down those sleeves, and a patchwork print is a lot to look at.
But do you see how cute those bee-shaped buttons down the bodice are? The evening wear especially is festooned with almost-hidden details. In the case of a champagne colored dress adorned with cascading stars, the stars almost conceal an embroidered zodiac print. You can imagine someone wearing it to a party and spending the entire night pointing out the specifics of her dress. Is it too much? Probably not on her.
10 February 2022
You can always expect florals in a Zimmermann collection, typically rendered in the prettiest, dreamiest, frothiest of ways. Pastel gowns strewn with blooms, chiffon ruffles cut into 3-D petals—these are Nicky Zimmermann’s calling card. But spring 2022 found her craving something a bit less fragile. As we emerge from a pandemic and face other nightmares—climate change chief among them—most women aren’t in the mood to look or feel delicate. Zimmermann and her team found a new way to do flowers: photographing bouquets in a studio, then digitizing and altering them to be bolder, sharper, and more abstract. A cut-out gown was printed with drippy, watercolor roses, then styled with combat boots; another was splashed with clusters of flowers in hyper-saturated shades of yellow and blue, topped off by a black choker. Other looks omitted florals entirely with new, punk-ish details, like a jagged blush tulle dress studded with gold and pearl “piercings.”Zimmermann was thinking mostly about ballerinas. Sure, their leotards and warm-up clothes were translated directly in a few looks, like a stretchy layered bodysuit and a lace dress that hugged the hips before exploding into a tutu-esque bubble skirt, but it was the balancing act of being a dancer that informed more of the designer’s vision: negotiating athletic power and grace, strength and fluidity. That might sum up how many women want to feel post-pandemic: newly empathetic, yet unwilling to compromise or take anything for granted. The sharpened-up aesthetic could attract a new group of young customers, too—people who couldn’t relate to a romantic frock in the past, but see themselves in the stronger prints, sporty perforations, and gold-studded tulle.
7 October 2021
Nicky Zimmermann is among few designers whose pandemic collections don’t look all that different from their “before” stuff. Flip through some lookbooks, and it’s obvious they were designed in gloomy times; not hers. If anything, her designs are sunnier and happier than ever. On a call from Sydney, Zimmermann credited her sister Simone, the label’s cofounder, and her husband, its CEO, for encouraging her to do what she does best: optimistic, exuberant, mood-lifting clothes. “Maybe they knew if I tried to do something else, it’d be bad,” Zimmermann joked. What they recognized early on was that women would crave lightness and beauty in moments of unease, and that as the pandemic began to end (in certain parts of the world, at least), the demand for expressive, bold, “re-emerging” fashion would be greater than ever.As such, resort 2022 is joyful. It’s a “true resort collection” in its emphasis on beachy, warm weather clothes and travel—in some cases, quite literally. Zimmermann stumbled upon James Northfield’s advertisements for Australian vacation spots in the ’30s, ’40s, and ’50s, and worked with his estate to translate them into prints. Early in the lookbook, a ruched scarf dress features a postcard print made of multiple Northfield posters, while a button-down dress features a painterly landscape of Lorne, a surf town in Victoria.The best looks resemble the souvenirs you might pick up on one of those trips: The opening dress was scattered with hand-placed 3-D flowers along the straps and bust, a bit like a deconstructed lei or the wildflowers you’d weave into your hair on the beach. Later on, a few minis were trimmed with long, swishy fringe threaded with seashells, a sultry, elevated spin on your usual beach finds. Zimmermann was excited about the tactility of those details and the personal, special touch they provide. That a seashell or 3-D flower is best enjoyed in person—not through a Zoom screen—may have something to do with it, too. We’re craving those hand-made, crafty things, but the win for Zimmermann is that hers don’t look like arts and crafts projects; they’re still grown-up and wearable.
10 June 2021
For all the struggles fashion faced in 2020—closed stores, canceled orders, shuttered businesses—what we’ll remember is the industry’s resilience. It was inspiring to see designers pivot and persevere through it all, and a frequent reminder that nothing (not even a pandemic!) can hamper creativity. Still, at a certain point, you just want fashion to befunagain—to talk about clothes without also talking about the vaccine, and feel excited about getting dressed without the stagnant undercurrent of anxiety.Many designers are predicting a return to fun and exuberance as soon as this summer, when the sun has lifted our moods and outdoor gatherings have resumed. The general consensus is that we’ll dress exuberantly too, with comparisons to the postwar feeling of the 1920s. Nicky Zimmermann’s new collection will arrive toward the end of the season (for us, at least; in her native Australia, it will be early spring), and you can’t help but picture the jewel-encrusted minidresses, gowns trimmed with confetti ribbons, and psychedelic comet prints anywherebuta party. On a call from Sydney, Zimmermann said she was inspired byCountdown, the Australian music program that aired in the ’70s and ’80s. At the time, it was her introduction to world-famous musicians, from Blondie to ABBA and the Stooges. She remembers the show feeling like an escape, a rare glimpse into the outside world; of course, the fashion was hugely inspirational too.The ’70s episodes stuck with her most. In this collection she mixed notes of the decade—flares, bohemian tunics, groovy suits—with her own signatures, like Victorian necklines and puffed mutton sleeves. Fans of Zimmermann’s party dresses will have their pick of familiar, sexy ruffled minis, tweaked with exaggerated collars or pussy bows. The opening number was trimmed with pink crystals too, a happily over-the-top touch. This is the time for clothes that spark joy, particularly after seeing so much pared-back, serious fashion in 2020.Still, some of the more compelling pieces were a bit simpler. The pants suits felt like a departure for the brand, such as a candy pink one styled with a striped turtleneck and platforms. If it seems like Zimmermann wasn’t at all influenced by the realities of the pandemic, her first-ever jeans mirror the global shift toward casual, everyday clothes.
She challenged herself to offer denim you can’t easily find elsewhere, skipping trendy washes or silhouettes in favor of sleek, dark-rinse flares with pin tucking and patent leather details. Her favorite look was also among the most wearable: a hip-length floral tunic and skinny boot-cut jeans.
18 February 2021
Nicky Zimmermann titled her new collection “Wild Botanica” after the native flora and fauna of her home country, Australia. The designer riffs on Down Under references, but the pandemic has given her a new appreciation for the place. Typically, Zimmermann is on a flight every other week, traveling for events, runway shows, design meetings, and all of the other things that it takes to run a huge global brand. Staying close to home forced her to pause and look inward. Zimmermann created a short film through which to showcase her spring collection, and in the opening scene, she’s heard explaining that if she weren’t a designer, she’d be a florist. Lockdown reminded her of Sydney’s beauty, as well as the beauty found in the turn-of-the-century artwork of painter and explorer Ellis Rowan.Zimmermann translated these references into bold floral and bird prints on ruffled tops and maxidresses, and playful 3D flower appliqués on other blouses and billowy frocks. A long crochet pencil skirt and laser-cut lace crop top with butterfly embroidery stood out for their interesting textures. Bermuda shorts, loosely cut linen trousers, and cotton button-downs added an air of minimalism to the otherwise vibrant lineup. This was one of Zimmermann’s most personal and thoughtful collections to date. On top of home being where the flora and fauna are, the designer showed it’s where her heart is too.
17 September 2020
Zimmermann could not host a presentation this season due to the coronavirus pandemic. In these extenuating circumstances, Vogue Runway has made an exception to its policy and is writing about this collection via photos and remote interviews.Nicky Zimmermann titled her new resort collection Lovestruck. It was designed to conjure happier times than the ones that we’ve lived through these last few months, amid a pandemic exacerbated by the American president and unrest around racial inequalities. Zimmermann’s collections are never not upbeat. She is an optimistic, sunny person, and it came through here in the bright, bubbly heart and peace-sign prints, as well as in the pretty palette of deep greens and soft pinks. She didn’t skimp on her signature flounce either, though it was nice to see more pared-back pieces like button-down blouses and a sharp baby blue suit in the mix.Zimmermann’s innate flair and whimsy have turned the brand into a destination for women shopping for their vacation wardrobes. But her dedication to sparking joy feels even more essential at this moment. Ebullient fashion can’t save the world, but it can provide brightness during a dark time. When we someday reemerge, this resort collection will lift our spirits and dress us up for very happy gatherings.
26 June 2020
Nicky Zimmermann set out to create an upbeat collection for fall. As soon as the first look hit the runway—a colorful, paisley-print, tiered-ruffle frock that was belted and accessorized with velvet boots and a feather-bedecked fedora—you knew the next five minutes or so would be peppy and pop-y. Zimmermann’s lineup was inspired by lucky charms, fortune-telling, and superstitions. She titled it Lady Beetle, which is a reference to when a lady beetle (or ladybug) lands on your hand and is thought to bring good luck. Outside of the star and horseshoe embroideries, Zimmermann nodded to the aura of a fortune-teller by giving her a bold new wardrobe. Models were transformed into cool, young versions of Miss Cleo, decked out in retro-inspired high-waist velvet pants, plaid trenchcoats, and metallic ruffle-hemmed skirts. This was a familiar Zimmermann brand of bohemian flair but pumped up with more texture, grandma-vibe textile patterns, and a few key words too.Zimmermann created graffiti-esque prints featuring such words asmagic, evil eye, clairvoyant, andsuperstition.The monikers swirled across a pink dress with balloon sleeves in both a mini and maxi length, as well as a pussy-bow blouse. Another top in black with a ruffled bodice was decorated with the same words, this time in metallics and sequins. Zimmermann’s point here was to let her playfulness run wild, but it distracted from the rest of the collection, which felt like a perfect enough nod to a well-heeled fortune-teller. The witchy purple velvet and lace poet-sleeve dress made more of a statement than those font prints, as did the tapestry fabrics used for outerwear and suiting. The layering and textures were what gave depth to Zimmermann’s clothes this time around, and by showcasing those techniques she sent some magic charm down the runway this afternoon.
10 February 2020
Backstage after Nicky Zimmermann’s Spring 2020 runway show today, she was struggling to describe a certain feeling. The designer was talking about how this season she was inspired by the dreamy, summery mood from her memory of being a young girl growing up in the suburbs of Sydney, Australia. She remembered the final days before her primary school let out for the holiday break, and the fact that during the long-awaited countdown to freedom, she and her classmates didn’t do much school work at all. In America, we sometimes call that lack of motivation ahead of graduation “senioritis.” The word refers to kicking back, relishing the work you’ve done all year and how good it will feel to be free of books, deadlines, and letter grades. Zimmermann recalled one instance when a teacher let her and her classmates watch 1966 surf documentaryThe Endless Summer, which not only kept kids entertained while they awaited the final bell, but also got them even more excited for the break.No matter the season, Zimmermann’s collections have a way of getting everyone excited for summer. Her core designs are pure beach-chic porn: tiered ruffles, mini hemlines, pouf sleeves, plenty of eyelet. Zimmermann showed that today too, but what was more impressive was how she swerved over into a new summertime aesthetic that was a little less sweet. The designer showcased a new series of prints made from retro surf posters, which landed on cool maxi skirts, crop tops, and a covetable strapless dress. Weaving these more graphic prints into her repertoire was a smart move. There were pieces to play with and style, rather than just throwing on one of her bohemian day-to-night dresses and hitting the sand. Summer ended last weekend with Labor Day, but Zimmermann’s Spring wares made it seem like it was just around the corner again. The audience at today’s show looked joyful at the thought of having their own grown-up version of senioritis and dreaming of more beach days ahead.
9 September 2019
Nostalgia has always been a key component of Nicky Zimmermann’s design formula. Her clothes are recognizable for their flounce and summery florals, but they’ve also become signifiers of her past. She is constantly digging through her personal memories for inspiration, whether it’s an Australian TV show she used to watch in the 1980s or a beach community outside of Sydney that she used to visit with her parents as a kid.This season, Zimmermann went back in time once again, and looked to old Super 8 films of her family by the ocean or at their pool, hosting a barbecue and hanging out with friends. She focused in on the clothes everyone was wearing, in particular a shot of her mom with her hair tied up in a patterned scarf that matched her breezy boho dress. Zimmermann didn’t copy or directly mimic these outfits. Instead, she evoked the fun-loving mood she felt when rewatching the old films, explaining in her notes that her Resort collection was really about “the flicker of the film, the flashes of golden glow, the happiness and the simple fun of the time.”Zimmerman’s new designs are cheerful, but they aren’t overly cutesy or precious. She did a nice job weaving in a very classic sensibility via her use of tailoring. Some of the brightest pieces included a linen safari shirt dress and a ’70s-style rust-colored wide-leg pantsuit with thick white piping. A folksy white dress with grosgrain ribbon detailing looks like something a young Sharon Tate might have worn many decades ago. In fact, the bulk of Zimmermann’s collection could have outfitted the cast of Quentin Tarantino’s new filmOnce Upon a Time in Hollywood, set in the late ’60s. The designer used retro floral prints from those days in a smart way for 2019: on minidresses, belted skirts, and ruffled pussy-bow blouses. Zimmermann knows how to bring the past into the present by blending throwback colors or silhouettes with cuts and fits that are relevant today. She did that especially well this season.
28 June 2019
For Nicky Zimmermann, there is something alluring about a female spy. Not the likes of Maria Butina, but instead, the lesser-known and more empowering story of Nancy Wake. She was born in New Zealand and became a spy in Europe during World War II, known as the “White Mouse” because she was so hard to catch. Wake was responsible for freeing thousands of persecuted people in France and assisting the country in its fight against the Germans. As Zimmermann explained in her show notes, she was inspired by Wake’s story because she “loved the idea of such a feminine, skillful, and selfless figure—a woman who helped people in the most difficult of circumstances.” Her Fall 2019 collection served as a modern retelling of Wake’s life through the clothing Zimmermann imagined her wearing today. Beautiful, supple leather trenchcoats paired with berets were the most obvious of the spy-ready wardrobe, as were bomber jackets and hooded anoraks.Zimmermann’s knit balloon-sleeve minidress and knee-high boot combination also felt like a sexy nod to the mystery woman, as did the burgundy leather midi skirt and the blush belted jumpsuit. The designer always incorporates some of her signature bohemian-style frocks, but this time out, the floral-printed pieces didn’t exactly fit in with the Wake backstory. But Zimmermann’s strength this season was in her expansion of offerings. There were more knits, more dress silhouettes, more texture, and more prints. Wake was a chameleon, after all, and Zimmermann understands that these days, that’s how a lot of women want to dress.
11 February 2019
During the late 1970s, Nicky Zimmermann fell under the spell of a campy soap opera. She was an impressionable young girl, and the TV hitNumber 96aired exclusively in her home country of Australia. The look was similar to, say,Days of our Livesin America: huge fur coats; tight, sexy little dresses; shoulder pads; and lots of hair. According to Zimmermann’s show notes, the program was provocative and progressive in its day, as it explored then-taboo themes such as homosexuality and adultery. For Spring, the designer was inspired byNumber 96’s very ’70s costumes, and also its bold representation of sex and sensuality. In a way, Zimmermann’s clothes are just as unabashedly sexy. Her brand has an identifiably sexed-up boho vibe, and the babes that paraded down the runway today seemed to have even more of that power about them than usual.Some pieces were more impactful in this way than others. One example was a sweet paisley-printed minidress contrasting a high neckline and long sleeves with peekaboo cut-outs throughout the front and back. Another was a crop top and dangerously low-slung trouser combination. Zimmermann went a bit too camp when it came to the disco-age tracksuit references, and a pair of bright red short shorts that looked like something plucked from the closet of Farrah Fawcett, or one of the salacious plotlines ofNumber 96. In between the ultra-sexy and the literal were some very nice separates, including a silk patchwork blouse and a pair of brown belted pants with white topstitching. As usual, Zimmermann really shined with her dress options. Though there were a few that stayed true to her usual free-spirited aesthetic, some felt very fresh, including the mixed-print gown with ruffles at the bodice and the white midi dress embellished with subtle pom-pom detailing.Zimmermann always does well when she pulls inspiration from her past, and this season was a fine example of that. Though she may go a little too far sometimes where fun fashion is concerned, she knows how to make clothes that are appealing and statement-making. If someone in Hollywood happens to be working on a nostalgic soap opera with sexiness as its core for Spring 2019, they should give Zimmermann a ring before the rest of her fans scoop everything up.
10 September 2018
Fashion runs in Nicky Zimmerman’s family: As a little girl, she watched her mother and aunt make her own clothes because they “wanted to dress well, so they had to make it [themselves].” After design school, she started selling her own pieces at the Paddington Markets in Sydney. Then, with the help of her sister Simone, a marketing grad, and her husband Chris Olliver, the CEO, the brand grew to include swimwear, separates, childrenswear, and accessories. Today, Zimmermann is established as one of Australia’s top fashion voices, with 36 stores at home, brand-new ones in London’s Mayfair neighborhood, and, as of last weekend, St.-Tropez.During a visit to her Paris showroom, Nicky noted that the idea behind the collection was something of a departure. “I don’t usually do muses,” she explained. “I usually do something more from personal memory.” But coming across a series of ’70s-era photographs of Anjelica Huston hanging out with Jack Nicholson changed her mind. “There were no stylists at the time, so hers was an ‘I’m my own person’ style,” she said.Huston’s personal signature of wearing an orchid in her hair, for example, became a springboard for embroidered linen blouses, dresses with peekaboo details in front or back, belts, the burgeoning jewelry line, and even as embroidery on swimwear with retro-leaning, high-waisted bottoms. Crisp linen suits in minty or powder hues etched out an elongated silhouette, while high-waisted, cropped flares might pair with an airy, feminine floral blouse in silk linen organza (alternatively, python makes an appearance, too). For women who count on Zimmermann for warm-weather events, some options shimmied with little macramé spheres or embroidered dots.The Zimmermann woman travels a lot, Nicky noted, and the brand strives to meet her wherever she goes, be it Mykonos, New York, or East Hampton. Pretty soon, that will include Paris.
30 June 2018
Right now, women are in desperate need of unfussy clothes. Most want something they can move in, breathe in, and fight the powers that be in. Nicky Zimmermann’s garments aren’t fussy per se, but they are usually filled with a ton of flounce and corseted silhouettes, and while that aesthetic has served her well over the last few years, it seemed she felt that some easing up was in order. The designer titled her Fall collection Unbridled, referencing romantic, adventurous equestrians of the Victorian era with some ‘80s style from her youth thrown in too. The frills by way of ruffles, tulle, and crochet were still there, but this outing seemed acutely feminine—made for women of many makeups, and not just the Zimmermann boho beach babe we all know and love. First, the color palette was much more subdued and earthy this season. For every bow or pouf shoulder on a breezy floral print dress, there was a simple, buttery leather trouser. For every girly mini, there was a beautifully clean and minimal Italian jersey-knit maxi. The outerwear, which included menswear-inspired bomber jackets and shearling coats, was also a highlight.In addition to the Victorian lady astride a wild horse, themes of the American West seeped into Zimmermann’s latest collection, predominantly visible in the studded cowboy boots, belted saddle pouches, and O’Keeffe-ian wide-brim black hats tied around some of the models’ shoulders. It gave a fun kick to the equestrian theme, but the designer made stronger points elsewhere. Zimmermann’s best looks were those that brought a womanly and grown-up sensibility to her flirty garments, those that were designed with sleekness and wearability in mind. In this collection, there was a dress, a top, a jacket, and a pair of trousers for every kind of unbridled women. That alone made it one of Zimmermann’s most impressive and spirited offerings yet.
12 February 2018
Nicky Zimmermann went back to her roots for Spring 2018, she said backstage post show, exhausted but thrilled to have just shown her very “personal” collection. When she began to design this season, Zimmermann revisited the Gold Coast in her home country of Australia. “I really wanted to re-create something that was a memory for me,” the designer explained. “My parents went on their honeymoon there and it was about trying to capture the beauty, romanticism, and light of the Gold Coast.” She also looked at photography of the beachside suburb taken during the ’60s and ’70s. The inspiration was clear in the majority of the hippie-ish clothes. Think flower-power chicks and boho surfer babes, though sexed up with the core Zimmermann flair.Ultraviolet floral prints took on an edgier aesthetic, especially with the gathered and spliced accordion prints on the angular dresses that came down the runway. Zimmermann also tried her hand at board shorts but with flared hems, ruffles, and slits at the thigh. The white crochet dresses felt fresh and well-balanced within the collection, as did the simple, striped knitwear. The belted white trousers and gauzy button-down shirt combination was also quite lovely. Zimmermann might have done well to tone down the flip and flare on the miniskirts, and perhaps to keep the design detailing more simple when it came to the florals. In terms of the latter, the best pieces were those like the suit set and the knotted cutout dresses that were without lacing or embellishments. In all, it felt breezy, fun, and, yes, personal coming from Zimmermann—a sunny lineup of clothing, indeed.
11 September 2017
There was no real-life muse involved in Zimmermann’s Resort collection. This season, the starting point was a spirit. As designer Nicky Zimmermann explained, “we began with the idea of a person—a fiery, lovelorn artist.” References tend to be concrete and based on factual history for Zimmermann. While contemplating Fall 2017, for example, she looked to the Maples, a building that once housed students of the Women’s College at the University of Sydney. But just because there was no living, breathing focal point for Resort doesn’t mean that the lineup wasn’t for the most part cohesive.On the “fiery” side, Zimmermann incorporated several sexy cutouts into a beautiful ivory linen dress and showed a cool black polka-dot minidress with boning and a ruffled, laced-up, deep-v neckline. A cute dress and jacket were decorated with thick black paint swatches, which didn’t quite jive with the rest of the collection but cheekily nodded to the designer’s make-believe artist. The same goes for the girly, teeny-tiny heart embroidered pieces. As far as prints go, Zimmermann was at her best with a subtle Baroque pattern on a light, blush-colored fabric that she also did in blue, the best iteration of which was a minidress with pleating and puffed sleeves. The romantic, texturized crop tops and a striking, thick gold viscose linen skirt were also highlights. Zimmermann’s signature swimwear was there too, but it didn’t hit as high of a note as the ready-to-wear.The label will always resurface its bread-and-butter pieces with ruffles and flounce, but, as she proved with the Resort collection, Zimmermann is building on that palette in a smart and sellable way. It was, in the designer’s own words, “not too pretty, with a bit of strength behind it.” Made-up muse or not, this well-edited and well-conceived season was a step forward for the Australian designer.
16 June 2017
Nicky Zimmermann’s show started off with a literal bang. A thunderous zap sound came roaring over the speakers as the lights began to flicker. Some in the front row jolted. It was an eerie techno tune to accompany what would be a tougher-than-usual lineup from the successful Aussie brand. Zimmermann borrowed the attitude from the women of the Maples, one of the buildings that housed students of the Women’s College at the University of Sydney after World War I. The designer discovered photographs from the school during that time, which included images of ladies playing around in cricket whites and sport jackets during the day and wearing giant men’s coats over delicate, silky drop-waist dresses at night.Zimmermann took the idea of a defiant, strong female and ran with it, showing deconstructed lace with peach-colored bomber jackets and thigh-high leather boots. She also ventured into suiting this season, one of the best examples of which was a striped double-breasted blazer worn over a turtleneck and button-down, with matching cuffed culottes. Textures and silhouettes on the dresses were edgier, too. The designer juxtaposed her usual fluid floral prints with a miniskirt constructed with off-kilter pleated paneling, as well as a relatively minimalist (for her) chevron-patterned black and white knit with drawstring sleeves paired with a tiered white lace skirt.The stylistic nods to the Maples were well executed, save for a couple of the fluttery dresses that looked better suited to someone dancing flamenco than a girl doing the Charleston in a speakeasy. Aside from the homage to the Women’s College, Zimmermann also had practicality in mind for Fall. After the show, she mentioned that many of her friends and clients often ask her how to wear the light dresses in the fall and winter months, as not many coats go well with such airy, boho-inspired frocks. The heavy yet feminine outerwear this season, which incorporated fabrics like shearling and leather, was the answer.While those in the front row this afternoon may have gotten a shock in the beginning, it was ultimately a welcome and refreshing new sense of power for the popular label.
13 February 2017
“I grew up in the suburbs of Sydney,” said Zimmermann’s Nicky Zimmermann today. “About 45 minutes out of the city—you were kind of deprived of access to the subculture happening in town. So, every Saturday, I’d drive in with my friends and we’d make our own outfits.” This origin story served as the inspiration for Zimmermann’s Spring collection, which demonstrated an improvement over this past Fall—perhaps because its underlying idea was so close to Nicky’s heart. There’s nothing quite like hitting up the city as a youngster when your day-to-day life in suburbia is a little slow (this writer can relate).What that morphed into on the runway was clothing that had a ruffled pomp with a polished, DIY kind of indifference, rife with lace, tulle, layers, prints, and detail. What’s regularly remarkable about Zimmermann is the brand’s ability to produce high-quality, intricate workmanship while retailing at a sub-designer price point. One piece, a white lace and purply floral menagerie of wraps and tiers (essentially a souped-up prairie dress), was especially striking in terms of its construction. It also featured an off-the-shoulder element, which is proving to be quite trendy in the early stages of NYFW.Zimmermann mentioned that the overall feel of the collection was also “kind of sexy pirate,” a descriptor that must have sprung from the “romanticism” of her youthful memories. Sometimes that manifestation looked a little derivative of, say, Rodarte, but it wasn’t bothersome. One standout item was a pajama pant in windowpane check that had weighty silver buttons running up the sides. “It’s about the fun we were having,” concluded the designer. And the fun that many girls will soon have, come Spring’s deliveries.
9 September 2016
Ruffles and whisper-thin dresses have long been Nicky and Simone Zimmermann’s strong suit—the fact that both are having a moment in the sun is good news for the designer. (As is the fact thatBeyoncéwore one of her ruffled looks in her “Formation” video earlier this year.) For Resort, Zimmermann continued to riff on the style signatures that made her name, sending out deshabillé dresses in sun-bleached hues. Some of the more romantic options came in dusty floral patterns, but the real heroes were two short-sleeved white numbers, one in cotton organdy, the other in French chantilly lace, that are perfectly lovely.That whimsical touch fell short in other pieces. When done in weightier fabrics, cascades of Zimmermann’s signature ruffles can weigh down a blouse instead of add liveliness to it. The same can be said for the linen organdy that made up some minidresses—perhaps a touch too stiff in practice to register as whimsical, especially when cut with inset trim. As for her swim offering, one of the brand’s strong categories, an off-the-shoulder bikini top with embellished trunks might not be practical for the ocean, but its Bardot-like charm is too cute to deny.
16 June 2016
Even though this powerhouse brand from Down Under is known for often having lots of frills, ornaments, and intricacies in its clothing, Zimmermann’s Fall collection was stilla lotto take in today.Nicky Zimmermann—who runs the label with her sister, Simone—mentioned being inspired by India and its colors, and the way mirror bits are often worked into textiles (which, upon explanation, actually softened the blow a little, as otherwise the presentation somehow looked way too outrageously disco-zany). “It’s about optimism,” she added, noting a move away from Spring’s harder lines into flowing and off-the-body shapes. “We wanted to loosen up.”But, even though it’s the runway and visual impact is absolutely key, it’s also necessary to make sure that said impact isn’t an affront. There was just so much happening: One look featured a maxi dress with calla-lily sleeves printed with wallpaper flowers, ringed with mirrored concentric discs from the plexus out, and styled with yet more silvery orbs in stacked chokers.Woah. Just before, a baby doll frock in Ring Pop pink glinted like a bachelorette party disco ball, as did its accompanying leggings (let’s call themdeggings—disco leggings!). More and more big caftans and pantsuits kept coming from backstage, often with wild detail and sparkle, and less often with an edit. One had to think of Studio 54, even though Zimmermann says the nightclub didn’t play a role in her design concept.Maybe there is a customer here, though. These are clothes with selfie-taking potential, after all. And they’re excessively fun too, which, judging by the over-the-topness of the Kardashians’ entrance atKanye West’s album and Yeezy unveiling yesterday, may very well be a trend in the making. But if you’ll recall a moment fromBeyoncé’s recently released video for “Formation,” the singer is wearing a white, airy, albeit still complex Zimmermann dress (“We didn’t know it was happening,” said Zimmermann. “In the morning my husband said, ‘You’re not going to believe it’ ”). The volume and Victorian jazziness is still there, but Bey’s piece is polished, daresay even a little preppy, and much more true to Zimmermann form. Today, on the other hand, was overhit.
12 February 2016
Down Under, there’s a book, published in 1894, calledSeven Little Australians. It’s about a family of seven children, and all of the rebelling that ensues. “They wreaked havoc on [their father] . . . back then, everything was very stitched up,” saysNicky Zimmermann(an Aussie herself, who codesigns with sisterSimone). Such bad behavior—especially in an era of strictness—captured her attention forZimmermann’s Spring lineup. “Very mischievous,” the designer said. “I love the idea of an underlying naughtiness with these classic fabrications.”The 1800s came through in elements like high collars and lace sleeves, but the sly insouciance was what captured interest: Somehow, these frilly things, like a dusty pink bib-flounce top with an ivory lattice skirt or a tiered cobalt dress with noir pearling, felt plausible for a weekend outing in modern-day Sydney. Call it Victoriana for the Bondi Beach set. And if at times it felt like a lot, in terms of texture and ornateness, one look at the crowd confirmed that with this brand, more is more, and, in fact, eminently wearable—there were plenty of Zimmermann flounces and filigrees throughout the room.To that, this brand retains two steadfast strengths: One, the clothes are always well made. But two, those clothes are often chameleonic between formal and easy—and the theme this season synced nicely with this equation. So why not wear bell sleeves to the Bondi Icebergs? Be one of those naughty Australians.
11 September 2015
Last summer, Nicky Zimmermann opened a second New York shop in East Hampton, and if Resort is any indication, that spot's tony interpretation of beach life would seem to be rubbing off on her. This season she offered up an even breezier take on the diaphanous dresses she’s built her brand upon. Printing the kaleidoscopically lovely designs of Turkish rugs atop linen lent a richer bohemian bent to pieces, while a dotted cotton organdy frock was pure coquette down to its frothy lace trim. Elsewhere were the Zimmermann hallmarks, those wafting gowns with glitz to spare shot through with thread of gold Lurex (and built-in underwires). Still, if ethereal numbers are Zimmermann's bread and butter (the designer herself is a proponent of capital-D dressing), then some of the daywear here, like lacy culottes or structured little shifts, made a compelling case for her to continue exploring the creative possibilities—and aesthetic economy—of more casual offerings.
16 June 2015
Backstage before her Fall show, Nicky Zimmermann referred to the parties she remembered her parents giving during her childhood. That nostalgia yielded a focus on occasion dressing—no great shock coming from Zimmermann, whose label has plenty of flair when it comes to the festive and more-is-more. Here were a heavy dose of '70s shapes and a palette inspired by '60s interior design: merlot, sea foam, tangerine, dove gray, rust…the list goes on. The brand's signature diaphanous gowns were out in full force, from a sorbet-hued paisley number with macramé panels along the sleeves and down the bust to an oxblood stunner of a finale look. They were nipped at the waist, flowing everywhere else, and shot through with miles of the inset trims that have become such a prominent part of the Zimmermann design vocabulary: gold rings, delicate looped cord, that aforementioned macramé. Many of the dresses also bore generous cutouts that felt like a boldly sexed-up move for the brand, to mixed effect.In between all those maximalist maxis were puff-sleeve blouses and high-waist stretch crepe flares in jewel tones, shantung trousers, and a couple of standout glamour coats, but daywear was pretty thin on the ground overall. Night owls with a taste for some flash will come away happiest here.
13 February 2015
As Nicky Zimmermann noted backstage before her Spring show, some clothes you can "read" well enough hanging on a rack. These were not those clothes. Movement was paramount to Zimmermann's pieces this season (her fourth since she started showing in New York), and delicate shapes reigned. They came in printed silks and wisteria- and peach-colored lace, and wafted out from under pin-striped utilitarian vests. Pitting masculine against feminine is familiar territory for Zimmermann, and here she teamed her cascading gowns with cargo pockets, and sent out suiting in icy blue sharkskin (a standout). The designer had been looking at a dreamy 1970 tarot deck by illustrator David Palladini, but was wary of doing something that felt too literally vintage-derived. And so came techier touches, like a scuba tee bearing one of Palladini's illustrations, and asymmetrical, tiered, or pleated skirts. But overall the message felt a little unclear, the punch of any one piece diluted slightly by the host of textures, colors, fabrics, and ideas that bookended it.
5 September 2014
The terrific thing about being an Australia-based brand is when it comes to Resort, the deliveries actually align with high-summer months Down Under, which makes for brisk sales of Zimmermann's signature bikinis and beachy frocks. This season found Nicky Zimmermann reminiscing over holidays spent in Bali, where the local women traipse around in white cotton shirts and batik sarongs. "I've loved that look since I was a kid," said the designer. She channeled the breezy island aesthetic with eyelet-embroidered organza skirts and bell-shaped dresses. Decorated with peekaboo lattice accents, those perforated pieces revealed quite a bit of skin (as seen in the lookbook), so Zimmermann was smart to offer them with cute little mesh underpinnings. Elsewhere, eyelet embroidery was incorporated into a cool navy suit that came in a natural drill fabric; the tailored jacket boasted a beautiful tentlike drape in back. Zimmerman continued to reference the traditional patterns found on those aforementioned pareos by developing pretty, batik-inspired florals, which she featured on strappy silk party tops and crinkled chiffon dresses with bohemian appeal. Rounding out the mix were billowy cotton voile blouses and sexy swimwear. While it requires supreme confidence to hit the shore in va-va-voom numbers like the white, corseted one-piece here, Zimmermann claimed, "We've found such a market for these specialty styles [which retail between $600 and $700]." And it's not just Aussies scooping up the statement-making suits. The designer reported that her maillots and bikinis have been flying off the shelves at the East Hampton store she opened over Memorial Day. Noteworthy accessories such as wide-brimmed panama hats and an oversize raffia tote—roomy enough to lug multiple towels—completed the look.
17 June 2014
For its third show stateside, Australian up-and-comer Zimmermann trotted out the familiar hard-edged femininity seen on its Spring runway. This time, however, the scales were tipped decidedly toward the tough. Designer Nicky Zimmermann found inspiration in a freewheeling photo of her parents in Sydney in the late 1950s and ran with it. That, married with the attitude of teddy girls, beatniks, and some lesser-known ruffians from Oz, the sharpies, resulted in a riot of textures. There were structured silks, fluffy mohair, plush angora, net overlays, and eyelet paneling. Dresses (and a particularly gutsy palazzo-legged jumpsuit) were shot through with split seams and gunmetal beads applied over the top. Certain aesthetic nods felt too literal; one print, a collage of gleaming chrome motorcycle parts (seen on pants and gowns), was a bit perplexing. On the whole, though, the pieces felt not only wearable, but covetable. The true stars were the more mannish silhouettes, from boxy moto jackets to gorgeous suiting in slick sharkskin and a gradient plaid. A long mohair vest in aqua looked right when teamed with a cheeky bolo tie on the runway. Even if you don't necessarilyfeelthe part of Zimmermann's misbehaving Fall muses, you might find yourself wanting to dress like them.
6 February 2014
After years of presenting in Sydney, Australian label Zimmermann took a major leap and made its official New York fashion week debut today. "It's a progression for our business and where I want to be in terms of creativity," said designer Nicky Zimmermann after her Spring runway show. Entitled Ringmaster, the new collection had a circus theme, which was fitting, considering how the scene at Lincoln Center often is. Zimmermann interpreted the concept literally, adding theatrical neck ruffles to diaphanous organza frocks with a harlequin diamond pattern, and incorporating a drippy black-and-white "mascara" print (an ode to melting stage makeup) into several looks, including the finale number worn by Ruby Jean Wilson. Although most girls wouldn't be caught dead in clothes with clown faces on them (some pieces made it into the mix), the lineup never came across as too costumey. Standouts included a graphic eyelet lace "cross-body" dress with arching—almost acrobatic—cutouts at the bust and torso, as well as a champagne-colored satin coat with a curved, asymmetric tail and a supple pink leather circle skirt. Although Zimmermann is best known for its swimsuits, the racy bikinis seemed out of place here at times; but overall, things are looking up for the Down Under brand stateside.
5 September 2013
The Australia-based Zimmermann brand staged its first official stateside presentation for Resort this week. Citing films likeBadlandsandPicnic at Hanging Rockas influences, designer Nicky Zimmermann said the collection was "loosely based on the classic tale of a good girl falling for a bad boy." Her theme was reflected in the show's marked progression from ethereal ivory and foiled-gold looks to moodier dark ones. Beyond the color palette, there was a sexual spark running through the lineup—even in the opening white pieces, which included an on-trend lace maxi dress with contoured panels of transparent lace, and an organza pinafore frock with floaty flounces. On the vampier side, she showed slinky fringed gowns with plunging necklines and a backless halter number in an allover paisley print. The label is best known for its swimwear, and Zimmermann found fresh ways to incorporate alluring one-pieces here. Their laser-cut details, metallic thread embroidery, and ruffles ensured they'll enjoy a life beyond the beach.
16 June 2013