Carla Zampatti Australia Resort 2025 Collection

One of the most highly anticipated shows of the season took place on the first night of Australian Fashion Week, with the return of beloved label Carla Zampatti to the catwalk following the untimely death of its founder. An excited crowd showed up, dressed in the brand’s lavish evening gowns, to cheer on Karlie Unger, the new creative director. (A second show, open to the public, took place immediately afterwards. It sold out.)

As the show was about to start, the word DINASTIA appeared on a screen behind the runway, after which a short film was broadcast showing a model playing with an ancient-looking Roman coin decorated with Carla Zampatti emblems. “The coins speak a little bit about the challenges in women – the different facets of our personality,” Unger said backstage after the show. “There was the Empress, which means strength; a harvest symbol refers to our seasonal offering; the honeybee is about our profession. It is us, but in a different way.”

The first look, a bodysuit with glittering feathers, felt like a blank slate to start writing the new story; the first few looks actually showed elegant jackets worn over nothing more than black briefs and semi-sheer black stockings. What further emphasized the point of new beginnings was the collection’s color palette, which started with all-black looks, followed by a sort of wheat shade, then gold, then white and finally bold pops of color in baby blue, silver. and hunter green. Many of the pieces from the collection were shown multiple times in different colorways, capturing a new atmosphere each time.

Designers often like to talk about how their clothes are for all women, but on Carla Zampatti’s catwalk this wasn’t just lip service. First, because the models, who were diverse not only in age but also in body type, felt like a true reflection of Zampatti’s real customers; and second, because of the wide range of styles on offer. A crisp jacket with strong, square shoulders and off-center buttons, worn with matching straight-leg trousers, was ready for a black-tie gala in black and ready for a business job in a natural linen shade. A white, flowing kaftan-style blouse, worn with black high-waisted trousers, had the same glamorous impact as a figure-hugging semi-sheer dress in a jewel-tone green with expertly placed panels on the bodice for modesty.

Some sheer turtleneck and pencil skirt combinations didn’t feel entirely new, but were overshadowed by more impactful moments, especially in the tailoring. A mid-length swing coat with voluminous sleeves had a curved asymmetrical lapel with a multiple pleat detail at the bust, secured with three coin buttons and was made from a rich jacquard with a swirl pattern like the sands of time, while a white wool tunic was worn with matching trousers with open sleeves and a belt at the waist.

“The special thing about Mom is that she has been doing this for 55 years – she really hasn’t stood still,” says Alex Schuman, Zampatti’s son and CEO of the brand. “She was a very contemporary woman and she always liked to reinvent something. The brand has such a rich history that we can draw from. It’s really up to us to re-energize and bring it to the next generation of powerful women.”