Spewing technicolour dreams courtside with my favourite creatives.


I’ll be the first to admit that I’m not one of those 90s children who grew up immersed in 90s pop culture, who knew every Spice Girls’ lyric, who had a Tamagotchi to keep alive at recess, who tracked every gloriously grainy move of Johnny and Kate, or Johnny and Winona, or Gwyneth and Brad, or Gwyneth and Ben. I smile-and-nodded my way through schoolyard debates as to which Power Ranger each girl in the group would be. I learned the moves to the Macarena by peer observation.

I was just a nerdy child of immigrant parents, raised on second-hand records and VCRs from the thrift store. For most of my childhood, my favourite music consisted of Edgar Winter’s White Trash album and Chopin’s Nocturnes (both of these remain central fixtures of my shoot playlist, much to my producer’s embarrassment); my favourite TV show (we had the full box set of Rowan + Martin’s Laugh-in for reasons unknown) hadn’t aired in 25 years, and I didn’t even understand that I didn’t understand the political commentary and innuendo; I read the entire Harry Potter series in reverse order; and I legitimately believed, by way of Nancy Drew, that in the event of a snakebite, one ought to razor the wound and suck out the poison. As it turns out, this is a terrible idea. My first high school outdoor education instructor was utterly mortified.

Of course, after living out my first decade as an accidental 40-year-old, I later absorbed all of the above imperative 90s knowledge in costume design and lighting references images in film photography classes, and have somehow transplanted the extensive fashion, art, music and general entertainment information into my mind as memories – as if I was actually there at Marc Jacob’s infamous Perry Ellis Spring 1993 show and shared in the shock factor of unbridled teen spirit on fashion, just because it was my year of birth, or as if Diana’s death actually had any emotional impact on me as a 4-year-old, when the most important thing in my day was actually that I had on odd socks, and that I would surely get in trouble for that before the day was out.






It’s strange how the mind works to build history in such detail, despite the information only being received as second-hand smoke.

So I guess, in capturing these frames and working with Vicki on the superimposed art in stark contrast, I was looking to project what I thought the glowy skin, unruly brows, man coats and turtlenecks of unapologetically blasé models (not supermodels – just models) of the 90s must have looked like, by way of Tommy Hilfiger’s building blocks of a Winter wardrobe as the Aussie chill fast approaches (now that we’re all sick of over-embellished, statement outerwear that won’t stand the test of time). While the time pressure of shooting the whole thing in a few hours wasn’t terribly unusual, the mission for an unpretentious and raw fresh start in everything from working around disappearing light and resisting the urge to layer incessantly, manifested in my favourite story I’ve worked on all year.

Back to basics, if you will – all the while, spewing technicolour dreams courtside, and repainting the past in polychrome.






Kim wears Tommy Hilfiger FW16 collection throughout



Margaret Zhang 章凝 is an Australian-born-Chinese filmmaker, photographer, consultant and writer based between New York and Shanghai. Since establishing her website in 2009, Zhang has gone on to work with global brands including CHANEL, 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. Zhang’s directing, photography, and styling has been employed by the likes of VOGUE, L’Officiel, Harper’s BAZAAR, NOWNESS, 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 four consecutive years. CNN has identified Zhang as a leading fashion photographer in Asia and ELLE named her the region’s most influential digital voice. 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. In 2018, co-curated the first annual FOREFRONT Summit focused on inter-industry problem-solving at all scales of business. From this king summit, Zhang developed FOREFRONT+ – a round table series of candid conversations covering subject matters of universal concern. In 2019, THE FACE Magazine engaged Zhang as Creative-Director-at-Large for Asia for its relaunch. Zhang is currently working on her first feature film.


For project enquiries Tess.Stillwell@img.com
General enquiries bookings@margaretzhang.com.au