It is not merely the excitement surrounding the return of the Owens sisters with Practical Magic 2 drawing crowds to theaters, nor is it Ryan Murphy breathing new life into the sorceress-centric chapter of American Horror Story. It goes beyond Disney releasing a fresh animated feature about a magically inclined teenager titled Hexed, and it transcends the simple fact that we are drawing closer to the crisp, festive nights of Halloween. Instead, the real phenomenon lies in the distinctly witchy vibe that has thoroughly permeated the autumn collections. As the first true chill of the season hits the air, there is no better time than the present to embrace one’s inner enchantress through wardrobe choices.
Fashion writers, industry insiders, and cultural observers agree that this supernatural shift reflects a broader psychological and cultural yearning. "I think we’re all craving escapism from everything that’s going on in the world, and the witchy look feels oddly comforting yet unfamiliar and satisfying for those who want to dress for themselves firmly through the female gaze," says Kristen Bateman, a fashion writer and Vogue contributor who is well-known for her own affinity for magical aesthetics.
A retrospective glance at the fall collections, which are currently trickling into retail stores, reveals a profound sense of the supernatural presented in subtle shades that range from the whimsical to the macabre. A diverse roster of prominent designers—including Comme des Garçons, Rick Owens, Erdem, and Lanvin, among others—have all indulged, to varying degrees, in a touch of creative toil and trouble. Indeed, the dizzying breadth of subcategories of witchy aesthetics on display—ranging from the frightening and the glamorous to the melancholic and the avant-garde—demonstrates that contemporary culture has largely shed clichéd, one-dimensional ideas of how a witch should look. Instead, the fashion industry has wide open the aperture of what a witch can actually be.
This evolution is visible across the retail landscape. A recent promotional email pitch from Urban Outfitters highlighted that a "whimsical witchcore aesthetic" was currently trending, drawing attention to frilly tops and loose trousers rendered in earthy, muddy tones. Rather than evoking the traditional, pointy-hatted crone of folklore, these pieces lean closer to the archetype of a modern earth goddess.
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"The aesthetic has definitely evolved over the years into something more glamorous than it used to be," notes Bateman, who points to avant-garde houses like Comme des Garçons and Simone Rocha as go-to brands for "enchantress-core," often paired with vintage piano shawls and antique jewelry. Among her ultimate fashion inspirations is Michèle Lamy, whom she regards as the quintessential fashion witch. "And I think anyone who likes dressing differently can appreciate a witchy vibe and the power of black and a good symbol."
The market appetite for these styles is robust, crossing over from experimental runways into high-end luxury buying. "Romantic goth is having a moment," observes Tiffany Hsu, chief buying officer at MyTheresa. Hsu highlights heritage and contemporary design houses such as Alexander McQueen, Maria Lucia Hohan, and David Koma for crafting garments worthy of a high-fashion high priestess. "It’s romantic more than just basic black. We’re seeing cape details, fishtail hems, and long trumpet sleeves, especially in evening and cocktail styles. Corsetry and lace are part of it too—that whole Wuthering Heights mood, but very witchy."
This marriage of style and the supernatural is nothing new, but its current manifestation is deeply tied to personal expression and intentional living. "I think fashion and spirituality always work together," explains Ebony Jasmine Harris, a glamour witch, spiritual occultist, and spiritual deconstructionist who defines a glamour witch as someone who uses presence, intention, and personal energy to shape how they are perceived by others.
Harris explains that because glamour magic has "been around for thousands of years at this point," there is no singular, rigid way to dress as a witch. However, she stresses that clothing remains deeply important to the practice. She points directly to "color magic," which stands as one of the oldest forms of magical practice in human history. "So depending on the color you wear, you could wear black to be less seen, almost like cloaking, or you could wear black to feel stronger, or more powerful, or more protected. You could wear white because you want to represent purity, or you could wear white to tap in deeper to the spiritual realms."
The pressing question remains: why is this particular strain of enchantment trending so vigorously right now? "We need it," Bateman asserts. "Aside from Practical Magic 2 and other spooky cultural releases, I feel like people are embracing their darker, weirder sides more than ever." She notes the parallels between younger generations collecting antiques and the broader contemporary rise of Victorian influences, adding that "it overlaps with a dark, witchy moment. We also all want to believe in what others think is impossible."
In an era where the greater sociopolitical and global landscape frequently feels entirely beyond individual control, turning toward witchcraft and its associated aesthetics offers a psychological refuge. It provides a way for individuals to reclaim a sense of personal agency that remains entirely separate from existing political and societal systems that can often feel as though they are actively working against the individual.
Beyond driving commercial success through garments that encourage shoppers to gleefully part with their money, fashion designers are uniquely positioned to intuit the underlying mood of a given cultural moment. By landing firmly on a decidedly witchy vibe, they are effectively divining a collective, widespread hope for a little bit of magic in everyday life.
"I think sometimes we get to see a little bit of the fashion designer’s own magic in their own path," Harris reflects. "Because to me, fashion is an expression of your mental state, of your spiritual state, of what’s going on personally."
Or, as Bateman summarizes the movement with striking clarity: "It’s a way of thinking and a mode of dressing for oneself, far away from the male gaze. It’s deeply, divinely feminine."