At Zimmermann, There Were Strong Women on the Runway—and in the Front Row

2 min read

At Zimmermann’s fall 2026 runway show in Paris, models swanned through the olive-hued venue in Art Deco-printed bubble-hem gowns, feather-embellished shift dresses, and bohemian wonders made of intricate lace, swingy fringe, and antique-inspired suiting.

The inspiration? Powerful Australian women of the 1920s—including designer Nicky Zimmermann’s own grandmother. “She was a lifesaver at Coogee Beach in the 1920s, which didn’t [typically] happen because women weren’t meant to do that sort of thing,” she told ELLE backstage after the show. “I looked into it and there were these two gorgeous ladies, Kathleen Howell and Jean Robertson; they became mechanics and then they decided, ‘We want to be pilots.’ So they flew across the country.” She also referenced the Australian women’s cricket team, which wasn’t recognized until the 1940s, by way of printed scarf designs, and Miles Franklin, the iconic Australian author and a champion of emerging female writers.

It was a timely and important statement from the Aussie brand given that International Women’s Day occurred yesterday. Likewise, the front row was stacked with talented and inspiring women—Oprah Winfrey, Jessica Chastain, Lily James, and Naomi Watts, among others—each wearing their own chicly tailored and flowing floral creations from the label. “New York has been very cold and snowy,” Chastain told us of her tangerine-colored mini suit dress. “So it’s nice to be here in Paris right now and also wearing a bright, vibrant color because I think color is what’s inspiring me lately to try to get me out of the funk of the cold snow of New York City.”

Alongside the pretty dresses and voluminous skirts, there was some serious tailoring woven in throughout Zimmermann’s collection—with an unusual feminine and antique twist, of course. After all, to appreciate a Zimmermann look, one must look closely to see all the layers, accessories, prints and little details that make it so distinct. So it was no surprise that many of the front-row stars opted for looks with elements of suiting here and there. “I love a suit,” Chastain told us of her choice. “I mean, my personal style hasn’t really changed. I love a good tailored, structured suit and I love bright color, but I also love something that feels feminine. I don’t like any kind of androgynous clothing on me. So that has been a balance of my style, I think, that I’ve had from the beginning.”

Dynamic outerwear popped on the runway, often accessorized with fluffs of fur, big slouchy clutches and lots of silk scarves. “I wanted to keep it about simple silhouettes with high texture,” said Zimmermann. Think: lingerie layering, lace on the tailoring and ruffles, fringe, knits, and pleats all rolled into one. “This is sort of classic us, utilizing embroidered placement and laces.”

The collection really had something for everyone beyond the cult fans of the brand. But in particular, the cinematic movement of those feather-covered Art Deco shift dresses and blue velvet trousers was enough to keep anyone daydreaming about beauty for the rest of the afternoon.

Kristen Bateman is a contributing editor at Harper’s Bazaar. Her first fashion article was published in Vogue Italia during her junior year of high school. Since then, she has interned and contributed to WWD, Glamour, Lucky, i-D, Marie Claire and more. She created and writes the #ChicEats column and covers fashion and culture for Bazaar. When not writing, she follows the latest runway collections, dyes her hair to match her mood, and practices her Italian in hopes of scoring 90% off Prada at the Tuscan outlets. She loves vintage shopping, dessert and cats.