St Nemo’s Fire

In which ‘offensive’ would be defined by colour-blocking so aggressive that law enforcement is required.




When an island city faces a looming fourteen inches of snow, and all cab drivers bear the gloomy threat of the Big Apple completely shutting down, one finds themselves in the position of manic preparation (of which I did the opposite). While my other friends in the city stocked up on a few day’s worth of food, checked powersources and snow boots, I floated (with difficulty) uptown to Lincoln Centre to support Rebecca Minkoff’s runway goings on, and marvel at the necessity of a giant snow truck to keep the Plaza free of devilish frozen slush masquerading as reliable concrete (many a civilian fell victim to such treachery).

But, as reminders hitting my inbox indicated: the show must go on. Fashion is not one to logically make changes based on weather – hell, this industry won’t even take a second look out the window before deciding on the next twelve hours’ worth of attire. If there is a policeman patrolling the Plaza, hell bent on preventing all streetstyle, the camerafolk collaborate and send superstylers out into the snowy abyss one at a time, upon which fifty of them swarm out from undercover (click, click, click). Such was the situation on the day of Nemo.

My bright colours certainly popped out against the freshly settled powder. Layering has always been an exciting part of Autumn, but I usually limit to adding that unexpected piece on one half of the body – say a few shirts, or a skirt over pants. At 5 below zero, however, all my usual rules on proportions were out, and I built a look from the outside-in instead (this shearling situation being the warmest I had available to me). Three tops, two bottoms and a men’s shirt later, I found that the consistent bursts of colour from my waist down coordinated comfortably (and inoffensively*) with my would-be universal space cadet badges. As to why I would have a shirt around my waist when I had a jacket on my shoulders? This is better explained as flattery to the body – I have always found that the staggered lengths available in a shirt or jacket, double knotted to the right of your fly, so dramatically reduces the perceived bulk of your middle section.

In other news, I feel like the following photos justify the statement that Mandy and myself make quite the cute couple (after which we headed home and ordered twenty cookies to our apartment at ridiculous hours of the morning… God Bless America):



*where ‘offensive’ would be defined by colour-blocking so aggressive that law enforcement is required.

TOPSHOP Cap – Tibi Leather Top – ASOS Sweater – SUPERMUSE NASA Space BomberLibertine Libertine Men’s Shirt – Rebecca Minkoff Box Bag – SUPERMUSE Quilted Skirt – Factorie Jeans (similar HERE) – Acne Pistol Boots from My Wardrobe

photos by Zanita Morgan, edits by Margaret Zhang


Margaret Zhang 章凝 is an Australian-born-Chinese director, photographer, consultant and writer based between New York and Shanghai. Since establishing her website in 2009, Margaret has gone on to work with global brands including CHANEL, UNIQLO, Swarovski, YEEZY, Bulgari, Gucci, MATCHES, Under Armour, and Louis Vuitton in a wide range of capacities both in front of and behind the camera, while completing her Bachelor of Commerce/Bachelor of Laws at The University of Sydney. Margaret’s directing, photography, and styling has been employed by the likes of VOGUE, L’Officiel, Harper’s BAZAAR, NYLON, Marie Claire, GRAZIA and ELLE internationally. She has been listed in Forbes Asia’s 30Under30 and TimeOut’s 40Under40, and her work has been recognized as shaping the international fashion industry by the Business of Fashion BoF500 Index for the past four consecutive years. She went on to be the first Asian face to cover ELLE Australia. In 2016, she co-founded BACKGROUND, a global consultancy for which she specialises in Western-to-Chinese and Chinese-to-Western cultural bridging for a range of luxury, lifestyle, and brand initiatives. In 2017, she exhibited a series of 39 unseen photographic works as a solo show in Sydney, and premiered her first short film – a 15-minute exploration of her visceral relationship with classical music on both performance and abstract planes – to critical acclaim.

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