Captivated by the romance of performance, Zimmermann delved into the moody and enigmatic language of the circus. Exuding a sultry strength, the presentation walked a tightrope between the whimsy of an age-old art and the dominant sophistication of an entirely modern attitude.
A complex show of juxtaposition, designer Nicky Zimmermann’s play on proportions defied gravity with buoyant, coated fabrications floating like puffs of air around the body; grounded by knife-sharp, asymmetrical tailoring and the sex appeal of highly technical swimwear.
Colour was injected as though looking at old photographs; dreamy, feminine hues softening a bold base of black and white. Print and texture worked in tandem with smudged clown faces, lifelike tiger stripes and dripping black paint, hinting at something more sinister.
Australian faces Ruby Jean Wilson, Rose Smith, Jemma Baines, Jess Gold and Ajak Deng as well as emerging international stars Lena Hardt and Sara Blomqvist walked the runway to tracks by Foals, Zola Jesus and Last Days of 1894.
Makeup Director Jodie Boland created a dramatic moon-shaped eye in gunmetal with a neutral base and lips, while Hair Director Linh Nguyen swept side-parted hair into a textured pony tail.
Completing the theatrical presentation were cage-like neck pieces and cuffs with oversized square stone pendants, pointe-inspired shoes with wide elastic, and fold-over clutches in supple pony hair.
The Ringmaster follows Zimmermann’s move to make New York Fashion Week’s official schedule its base to present each ready-to-wear season as it continues to grow its presence in the US. Next month sees Zimmermann expand its New York store to a bigger flagship at 55 Mercer Street, Soho, which will be the brand’s biggest store worldwide.
Stealing the spotlight, The Ringmaster was a spectacle of skill with a touch of illusion that called for an encore.