2 MIN READ
At Paris Fashion Week there are those who chase provocation, those who run after the archive, those who build collections that need long explanations to find a reason. Then Zimmermann arrives and puts back at the center something much simpler and, perhaps precisely for that reason, harder today: the desire to wear a dress.
Nicky Zimmermann brings Spring/Summer 2027 to Paris and builds a rich, sensual, romantic collection, but above all a recognizable one. She does not renounce the DNA of the maison to chase contemporaneity: she makes it evolve. Chiffon, lace, transparencies, draping, prints and floral work remain in her vocabulary, but gain volume, movement and a new three-dimensionality. Vogue Germany spoke of “romantic maximalism”. The definition works, but it tells only part of the project.
Because here maximalism does not become noise. Every element seems to find its place. The long chiffon dresses crossed by pink, lilac, orange and yellow look like watercolors in motion; the saffron-colored dress builds the body through an almost sculptural succession of drapes; the gray lace becomes material, drawing and transparency; a floral miniskirt, instead, explodes into a three-dimensional construction, paired with a short camel jacket. Very different looks, yet immediately belonging to the same story.
And this is perhaps the most interesting result of the collection: Zimmermann manages to be recognizable without repeating herself. She does not use the archive as a refuge and does not force the brand’s language to prove she is new. She works on the product. On proportions, on material, on color and above all on movement. The dresses change as the models walk: they open, swell, reveal the body and immediately afterwards wrap it. The runway thus gives back something that static photography often loses, the physical relationship between dress and woman.
Sensuality too deserves attention. It is not aggressive, nor built simply on the amount of skin shown. It comes from openings, from transparencies, from fabrics that slide over the body, from lightness. Even when the volume increases, the figure does not disappear. It is a declared femininity, with no need to justify itself or turn into a conceptual exercise.
Nicky Zimmermann seems to remember an elementary rule that fashion, every now and then, forgets: a dress can have research, construction and identity and still be beautiful to look at. There is no contradiction between design and seduction. On the contrary, when the work succeeds, one feeds the other.
In a season in which we have seen many brands question their own identity, Zimmermann instead appears surprisingly sure of hers. She knows who she is, she knows the woman she speaks to and above all she knows the product. She has no need to destroy her own codes to show she is moving forward.
Perhaps this is precisely the strength of Spring/Summer 2027: it does not ask the viewer to understand the collection before desiring it. Emotion comes first. Then, looking more closely, one discovers all the work behind it.
And when that happens, fashion goes back to doing its job magnificently.
GALLERY
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