When Caroline Zimbalist was a child, she was told not to choose the most unruly cockatoo in the shop. She ignored the advice and took it home. That early attraction to what resists control carries through her work today. Drawn to biomaterials that shrink, warp, and behave unpredictably, Zimbalist designs in close conversation with material rather than imposing form onto it. The result is clothing that feels unexpectedly light, intimate, and considered—pieces shaped by attentiveness, intuition, and a willingness to work through constraint. In this Q+A, Zimbalist reflects on designing with biomaterials, embracing unpredictability, and why bold experimenting remains central to how she works.
ORIGIN STORY
What’s the first material or object you ever reworked or experimented with?
I experimented/reworked regular clothing/textiles when I was in middle school, but Silicone was the first non-traditional textile I experimented with while in college.
Why this material? What does it do that traditional materials don’t?
When we went to purchase a cockatoo for my father – who was allergic to dogs/cats – the bird rep showed dozens and discouraged us from picking the overly animated rogue of the group. Naturally, that was the avian I chose and took home.
I like designing with traditional materials but I wanted edginess and challenge in my life. I started with silicone and urethane in college which caused immediate health problems due to their toxicity. This led me to bioplastics due to their “green” component as well as their lack of toxicity.
Overall, traditional materials are easier to work with – more predictable.
Biomaterials don’t really do anything as well except:
1) hurt the planet less
2) give me a sense of satisfaction that nylon or rubber doesn’t.
Kristy Drutman wearing Caroline Zimbalist (R) ©Nick Pflederer
How do people respond when they first touch or wear your material?
I have often been thanked by wearers who said a bio-piece of mine made them feel special.
Overall, most people are surprised by how lightweight the material is and some are very responsive to the color palettes. It’s work that some people are highly drawn to while others might find it too avante garde.
THE PROCESS
What was the hardest part of working with this material early on?
Making the biomaterial pliant, comfortable, and controlling the odor. If I was making a blouse from corn starch, I wouldn’t want someone wearing an item that smelled like popcorn. It also took experimenting to have the material soft and malleable without being weak.
Drying time and techniques still require planning and care since individual pieces vary in size, thickness, and material composition.
How does your design process change when you’re working with waste/recycled matter/biomaterials?
If you’re using recycled materials or deadstock, it’s sort of like preparing food for a guest with what you see left in your refrigerator. You work with what you have to make the most appetizing meal possible.
With the biomaterial – which is generally a form of waste product being repurposed – the design process is guided by the material. As it dries, bioplastics shrink and sometimes warp depending on the mixture. It’s an intuitive process that requires constant adjusting and flexibility. It’s not for a very control oriented designer.
Both have more limitations than just designing from whimsy. Sort of like an author able to use imagination within the confines of writing in prose.
INNOVATION + IMPACT
What would the fashion industry look like if your material became mainstream?
Forecasts predict the adoption into everyday laymen items slowly and steadily as scalability and function keep improving.
If my material gets more high profile use and attracts copy cats, the (influential) fashion industry will accelerate the timelines for mainstream adoption. Which in turn will look like a stronger awareness and demand by consumers for Earth conservation to matter in their purchasing choices.
What’s the biggest barrier that keeps new materials from scaling?
Currently, the far lower costs of plastic and petroleum based products coupled with a lack of awareness of the bioaccumulation of using said products. If (1) awareness grows of the health impact of things such as microplastics, phthalates,synthetics, etc…; (2) scalability drops the price to a threshold that is palatable enough for large amounts of consumers (which will increase innovation to make new materials even more competitive).
Two looks from Spring ’26 collection
PHILOSOPHY
Why do you create?
To stay sane.
What do you hope someone feels when they wear your work?
I want them to feel comfortable and to have confidence they are armed with an attractive and/or interesting piece.
THE FUTURE
What’s the next material you want to try?
Probably back to conventional textiles that are natural – hemp, silk, linen. But adding things like biomaterial buttons or zippers. Like “natural” with a splash of nerdy eco-green.
What does success look like for you — beyond sales or collections?
Being someone that people can count on. Being a reliable family member and friend. Staying in continual wonder/gratitude of the process of creating; I don’t want to get jaded.
RAPID-FIRE
Deadstock or biomaterial? biomaterials
One designer you’d collaborate with tomorrow. Stella Mccartney
One person you’d love to see in your clothes FKA Twigs
One material you’d ban. Polyester
What’s your superpower in the studio? Multitasking
Finish the sentence: The future of fashion is…Bold experimenting
See more of Caroline’s work – including biomaterial vessels and accessories– on her website
and follow her on instagram.
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