ZIMMERMANN Fall Winter 25/26

ZIMMERMANN: Picnic at Hanging Rock

The ghostly spirit of 1970s Australian cinema sweeps through Zimmermann’s Fall Winter 25/26 runway, where delicate lace and glimmering touches of velvet heighten the haunting allure. The collection marks the 50th anniversary of the iconic mystery film Picnic at Hanging Rock, with its ambiguous storyline and visual poetry. As Nicky Zimmermann explains, “We've taken some of the key storytelling elements, such as lace, dramatic silhouettes, the colours of Australian nature, Valentine’s letters, maps of Mt Macedon, the pinafores of the school uniforms and some of the tougher elements like riding wear and suiting.” These elements have been meticulously woven together to create a modern homage, not a literal costume recreation, but rather an atmospheric one, weaving cinema into fashion.

Words by Sabrina Ciauri.

Lily Nova at The MiLK Collective, Connie Savill at The Hive Models and Maya Percival at Nevs, all  photographed by Lowe H Seger. Fashion Editor Tasha Arguile. Makeup by Olly Fisk at Stella Creatives using lelive. Hair by James Tarquin using Dyson Beauty. Photographer assisted by Stefano Venturi, Hanna Lautreamont, Zadek and Jack Beere. Thanks to Petronella Achieng and Ivana Giachino at LO Studio. Liv Rennie at Carol Hayes Management.

All Fashion from Zimmermann.

Where sunlight creeps through eucalyptus trees to create a dreamlike disorientation for viewers, Zimmermann uses fabric form. Sheer organza and chiffon in soft creams and peaches allow light to diffuse, reimagining the film’s cinematography. The garments drape softly and blur, as Weir’s lens focuses gently with motions slowed, with a sense of unease. This ethereality is combined with stronger textures of velvets, stretch-knit and burn-out paisley, evoking romance, beauty and something hidden beyond the surface.

The collection follows a carefully crafted progression, much like the narrative arc of the film. Earlier looks are frivolous and pure featuring lace trims, Valentine’s motifs, and pinstripe links to school uniforms, with colours dancing between creams, peach, and florals, as if the viewer is dreaming. It slowly deepens, a darker palette of moss green, midnight blues and even an ink black infiltrates the delicateness; a darkness has replaced the innocence. Each look could be its own scene in the film, gradually leading up to the lace capes, velvet gowns and braided leather boots — a final hypnotic state between beauty and dread.

Silhouettes become characters on the runway. The schoolgirls of Picnic at Hanging Rock appear through their pinafores, while the search party is referenced through the structured riding wear, featuring woven wool, leather, and shearling jackets. The romantic heroines and their fragility are represented in the Victorian-inspired gowns, lace capes and billowing sleeves. Then there are props within the scenes, including stone jewellery and almond-like suede bags. This series of characters and props contributes to the atmosphere, some foreboding and some innocent in nature, alluding to the mystery.

Zimmermann’s Fall Winter 25/26 collection is built on contrasts: lightness against weight, fragility against strength, innocence cast in shadow. By treating the runway as a cinematic screen, Zimmermann shows how fashion can tell stories through atmosphere, suspense, and progression. It is not only about the garments themselves, but about capturing the romantic, unsettling, and spine-chilling qualities of film. The unanswered questions of Picnic at Hanging Rock anchor the collection, leaving the audience in a trance - drawn in by beauty, yet haunted by what might be lurking in the shadows.

Editorial featured inside The Cinema Issue 15 - Autumn/Winter 2025/2026