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With the arrival of Halloween, fascination with various “shadowy” characters invariably rises. A particularly favored figure is the sorceress: benevolent or malevolent, youthful or aged, enigmatic and unpredictable. Contemporary cinema frequently presents us with radically diverse portrayals and visual interpretations of witches, yet these enchanting figures not only galvanize filmmakers but also fashion innovators. As the most somber celebration of the annum nears, we reflect on how the fashion sphere reimagines the persona of a storybook witch.
Alexander McQueen autumn-winter 2007/2008
In 2007, the designer Lee Alexander McQueen showcased one of his signature assemblages, In Memory of Elizabeth Howe. This was an homage to his great-grandmother Elizabeth, a victim of the Salem witch trials of 1692, among history’s most infamous persecutions. In that era, 19 females were executed under accusations of witchcraft, including a distant relative of McQueen’s, whose tale surfaced during his genealogical pursuits in the early 2000s.
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Alexander McQueen autumn-winter 2007/2008
At the heart of the runway, a diabolical crimson pentacle emanated light, encompassed by a ring of ebony granules. An air of intensity prevailed, amplified by the almost entire murk, posing a challenge for spectators to discern the medieval-inspired garments: pelts, plumes, constricted bodices, and elaborate headpieces.
Alexander McQueen autumn-winter 2007/2008
Martine Sitbon spring-summer 1993
With the approach of each All Hallows’ Eve, one image consistently gains popularity: a still from the Martine Sitbon spring-summer 1993 presentation, where the youthful Kate Moss strides forth as a spirited enchantress. She is garbed in a quintessential pointed hat, a pallid gray frock paired with a cape and a silken necktie, finished with a vintage cigarette holder as the ensemble’s definitive touch.
Commes des Garçons spring-summer 2016
Witchery has frequently recurred as a motif within Rei Kawakubo’s artistry. Commes des Garçons’ spring-summer 2016 showcase, designated “Blue Witch,” honed in on the struggle pitting beneficence against wickedness. The artist portrayed it as a saga concerning “tenacious women misjudged yet committed to global betterment.” This instance is not singular regarding Kawakubo’s thematic foray into wizardry: her autumn-winter 2004 lineup bore the title “Dark Romance, Witch.” The sonic backdrop is noteworthy—models glided to selections from David Lynch’s film, “Blue Velvet.”
Commes des Garçons spring-summer 2016
Dilara Fındıkoğlu Autumn-Winter 2024/25
Turkish couturier Dilara Findikoglu has exhibited consistent fearlessness exploring shadowy subjects—even her maiden showing boldly embraced satanic motifs, despite its occurrence within a Helborne church. Viewer reactions diverged intensely: certain individuals celebrated this audaciousness, whereas others branded the showcase a “satanic carnival.” Six years elapsed, and by 2024, Findikoglu presented the Femme Vortex assemblage; models swept along carrying newspapers brandishing headlines such as “Oh God, Dilara Is Orchestrating a Satanic Orgy in a London Church,” with the silicone dress glazed in tar incarnating the apotheosis of the aesthetic.
Dilara Fındıkoğlu Autumn-Winter 2024/25
Gareth Pugh spring-summer 2015
In September 2014, Gareth Pugh offered up a suite dedicated to British lore. He collaborated with Simon Costin, director of the Cornwall Museum of Witchcraft and Magic along with the Folk Museum—previously a jewelry fabricator and stage designer who partnered intimately with Lee McQueen. This assemblage spotlighted unnerving occult craniums and scarecrows.
Gareth Pugh spring-summer 2015
