In the world of witchcraft, fashion is more than just an expression of personal style, it’s a spell in itself. The figure of the witch has long captivated the imagination, evolving from a symbol of fear and power to one of allure, mystique and beauty. Throughout history, the witch has been portrayed in countless ways across literature, folklore, art and especially film. From the sinister witches of the past like those in The Wizard of Oz (1939) and Macbeth (1979), to the more complex and empowered representations of modern witches in films like The Craft (Fleming, 1996) and The Love Witch (Biller, 2016), the cinematic depiction of witches has undergone a dramatic transformation. The recent release of Wicked (Chu, 2024) marks another milestone in the ongoing evolution of witchcraft in popular culture, particularly in how fashion and visual art play a crucial and beautiful role in shaping the image of the witch today.
Fashion and visual art have become integral in shaping how we perceive witches on screen. In The Love Witch, where retro aesthetics, luxurious fabrics and vibrant colours dominate and in The Craft, where the grunge and spruce styles of the ‘90s symbolize rebellion and empowerment, clothing is not just about style. For these witches, fashion acts as both a tool and an expression of their magical abilities – it is quite literally a sorcery, an outward manifestation of their desires, control and autonomy. The witch, once cloaked in black rags or some sort of hideous frock, has evolved into a powerful icon of individuality and transformation, where fashion and displaying the visual art of oneself is no longer just an accessory but an essential element of the magic they wield.
As witches move from the shadows of folklore to the mainstream modern media, the connection between visual art, magic and fashion has become increasingly apparent. The witches of today, particularly in films and theatrical adaptations like the 2024 sensation that was Wicked, are purely defined by their ability to manipulate both the world around them and the way they present themselves within it. The idea of glamour in witchcraft, historically rooted in the ability to deceive, enchant or seduce others through visual manipulation, is more relevant than ever. Fashion is not merely a style choice but a compelling and quite frankly an insanely powerful tool of witchcraft, turning clothes into a form of visual magic. Just as a spell waves intention into reality, so too does fashion weave identity and power, shaping the modern witch not only through what she wears but through the very aura, ambience and outcome she creates with her look.
In The Craft, the witches’ clothing evolves with their increasing power. The transformation from more mundane, adolescent fashion to more daring and valorous outfits mirrors their emotional, magical and mystical growth. Similarly, in The Love Witch, Elaine’s retro, glamourous ode to ‘60s fashion is part of her allure and gives her a timeless, almost otherworldly quality. Her style emphasizes her control over her identity and how she uses beauty as a form of her power. Both films present fashion as a form of ritual and self-expression linked to the power inherent in being a witch. In The Craft, the witches wear specific items that signify their divine connection to magic (such as a pentagram necklace and other jewellery), which also highlights their bond as a coven. In The Love Witch, Elaine’s clothes serve as a form of armour, protecting her from malevolent forces while also empowering her in her quest for love. Both tantalizing films incorporate retro and gothic influences.
The Love Witch draws heavily from 1960/’70s fashion, paying homage to the art and aesthetic of cult horror films, while blending elements of vintage fashion with themes of witchcraft. The fashion and visual art influence the viewer’s perception of the character as both nostalgic and contemporary. The gothic, often dark and mysterious styles in The Craft, such as the dark makeup, heavy use of leather and grunge-inspired elements play into the darker themes of teenage rebellion, power struggles and the more dangerous side of witchcraft. Fashion in both films is also a visual tool to symbolize the internal struggles of the characters within them. Characters in The Craft often use their clothing to express their desires for social belonging or emotional release, whereas in The Love Witch, Elaine’s clothing is more about the power of illusion and control over others. The use of art direction in both films enhances the portrayal of the witches’ magical world. The Craft’s dark, gritty setting contrasts with the ethereal nature of witchcraft, using lighting and costume to create a heightened sense of magic. In The Love Witch, the more stylized, surreal setting, incorporates use of vibrant colours and luxurious costumes, immersing the viewer into a dreamlike and almost hyper-real world that compliments the witches’ fantasies and desires.
These garments are not only worn, they become part of the ritual process, imbued with meaning, intent and power. Fashion in these films is woven into the very fabric of witchcraft, far from a superficial element. The Love Witch and The Craft deeply emphasise the characters’ relationship with magic. Elaine, as the archetypal ‘love witch’ herself, encapsulates glamour, control and timeless beauty, while The Craft is a gorgeous representation of personal transformation. The visual art of fashion in both The Craft and The Love Witch is not just about clothes, but is deeply connected to the storytelling, character development and overall thematic fabric of each film: in both cases, fashion functions as an artistic expression that amplifies the magical and psychological dimensions of the characters, the worlds they inhabit and the narratives themselves. The Love Witch elevates fashion to an entirely different stylized level, creating an almost dreamlike world where colour, fabric and design are deeply intertwined with the film’s thematic concerns of love and illusion. Fashion becomes a medium through which the witches in both films shape their desires and become who they truly are, from which I feel we can all find inspiration.
Spotlight Magazine 
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