As any good witch will know, our season is coming. Come October, an ominous aura envelops us all and everything suddenly looks a little darker. Like we’re on the precipice of something that is either going to seduce or swallow us. Or potentially even both.
Naturally, this foreboding dichotomy is often reflected in our wardrobes. No, we don’t all start donning pointy hats and cloaks. but there’s a distinctly witchy aesthetic that tends to take over by way of rich textures, jewel tones and pointy lace-up boots.
All this is to be expected. What’s less quotidian, though, is that this sartorial mood extends into sunnier months. And yet, that seems to be the overriding instruction for next season, according to London Fashion Week. The tone was set at Harris Reed, whose collection was titled “The Aviary” in homage to the various bird motifs it referenced.
Gowns took flight via laced velvet corsets that branched out of the body like wings, while feathers on necklines created metre-wide silhouettes akin to talons. Models slowly glided down the runway to the sounds of twinkling music that, thanks to the cacophony of female vocalists, sounded not unlike groups of women casting spells.
Elsewhere, silhouettes were maximalist and mermaid-like, with one deep royal blue velvet skirt taking centre stage thanks to its flattering train and skeletal pattern embellished onto the front. There was an underlying sense of eeriness throughout, too, perhaps in part due to how little the models could actually move in the garments they were wearing; platform boots, caged skirts, and tightly bound corsetry constrained almost every facet of their bodies. Whether this was intentional or not is unclear – one of the models took a tumble at the end of the runway – but it certainly added to the sense of unease pervading the collection, one that was objectively in keeping with its haunting vibe.
The Turkish designer Bora Aksu took similarly spooky cues for this season with a collection inspired by broken dolls, which was ostensibly chosen to celebrate imperfection, but inadvertently also summoned a witchy spirit. There were several all-black lace ensembles, complemented by Harlequin tights, lace headpieces, elbow-length gloves, T-bar block heels and Aksu’s signature flouncy frocks. The fact that it all took place in a church garden to the sounds of Florence and the Machine’s “Just a Girl” added to the gothic glamour of it all.
Over at Di Petsa, it was time to hail the sea witch. The environment was instantly made mystical by the music that featured almost nothing but the sounds of splashing waves. Then the models emerged: men and women looking aghast with black tousled waist-length hair, clay smudged onto their hands and feet, and deliciously grotesque blue lips like they’d all been strangely washed up onto the sand. This was terror and power personified. As for the clothes, standout looks included a crimson two-piece featuring lace-up trousers with a matching bodice, a white and blue patterned sarong modelled by a woman whose hands covered her breasts (it was giving mermaid witch), and a black sheer gown with swirling patterns that was, thrillingly, one-breasted – think one-shouldered, but a bit riskier.
The way the models moved – slowly, intentionally, and powerfully – was also emblematic of Greek goddesses (the words “angel of Athens” and “fragment of Aphrodite” were emblazoned across slogan T-shirts), reinforcing the idea that the mood was inherently both magical and matriarchal. It’s also worth noting that the brand’s founder, Dimitra Petsa, grew up in Athens.
There were various nods to witchiness elsewhere, too. Like at Lili Curia, where the footwear was almost too woo to be true. The Lilith tall boot comes with a pointed toe and laces all the way up to the knee, making it the perfect witch shoe. The white Jules ankle boots featured a more dynamic square toe, while the Isadora tall boot came in dark brown with white laces. There was even a kitten-heeled version with laces at the ankle. Dreaming Eli made some nods, with a high-neck, full black lace sheer gown, complete with a boned corset worn underneath and ribboned ties all the way down the legs.
It’s an interesting time for the fashion world to be leaning into the occult. The industry has a way of reflecting the sociopolitical issues of our age, and few could deny that we’re in somewhat dire straits across the board. Perhaps, then, tapping into the otherworldly, transcendental side of life is a comforting escape. There’s also something deeply feminine about it all. Witches are nothing if not defined by a uniquely powerful and intrinsically female energy.
Overall, then, if there’s one takeaway from London Fashion Week so far, it’s that the season of the witch will be extending into the spring, and it’s going to bring out a more formidable side in all of us. One that many of us need more now than ever before.
