–Shivani Selladurai
Call it fashion, call it ritual—either way, Zoe Gustavia Anna Whalen had us under her spell at FW 2025
Zoe Gustavia Anna Whalen’s FW25 show wasn’t just a breath of fresh air—it was the breath you didn’t know you were holding. In a week crammed with shows that often blend into one forgettable parade, Whalen’s “i’minlovewitheverythingandiknownothingatall” collection emerged as a hauntingly poignant narrative that demanded, and deserved, every ounce of your attention.
As attendees settled into the cavernous shadows, it was clear this runway was a stage set for ritual, for a communal embrace of something ancient yet startlingly relevant. Here, Whalen was invoking spirits, resurrecting histories with every flicker of candlelight that danced across the textured fabrics of phantasmic silhouettes.
It was the poem in the show notes that truly encapsulated the essence of Whalen’s vision. A visceral piece, it read like a map of the show’s soul:
i am walking toward a horizon
landscape burning in my periphery
a solid ache behind
one eye
matted hair
an entire history clasped in hand
mouth agape
lips like age-worn velvet
the smell of metal the sound of breath
proclamations of love
!
i am in love with everything and i know
nothing at all.
This poem feels like a love letter to Whalen’s commitment to building a world rather than just a collection. It calls to mind the kind of storytelling that has defined some of fashion’s most memorable moments—think Alexander McQueen’s Voss, where the show itself became an unfolding psychological drama, or John Galliano’s work at Dior, where historical references were stitched into every silhouette. Similarly, Whalen constructs a universe where every fabric choice, every silhouette, every gesture is tethered to a greater narrative. In a season where many collections felt like mood boards thrown onto the runway, hers stood apart—less about aesthetics, more about a story fully lived in.
The collection featured an array of materials that whispered of history: vintage thermals, bleached and tied with mismatched buttons; long johns, tea-stained and layered into modern silhouettes; and ancient shrouds repurposed into makeshift capes. These were alchemic stories woven into fabric, carried by models who appeared as weary travelers on a pilgrimage through the designer’s darkly poetic world.
The dimly lit runway compelled us to lean in, to engage more deeply with the details obscured by shadow—here, each observer might discover something unique, a testament to Whalen’s belief in the intimate, personal encounters with her designs.
The restraint in color palette— the subdued tones and other neutrals— seemed to amplify the drama, enabling texture and form to command attention.These pieces bore the distinct imprint of Whalen’s background in sculpture, evident in every look. We’re met with spiral pants, their complex construction lending to fluid movement; intricately laced, boned stomachers; and linen tablecloths transformed into petticoats, uniquely colored with rust to enrich their composition.
A striking addition to Whalen’s repertoire was the use of metalwork, a new sculptural medium for Whalen. In collaboration with artist Vasaris Balzekas, battered silver “armor”-like sculptures spiraled around the body, reflecting a thousand tiny flames throughout the room. This metallic element brought a raw, medieval dimension to the collection, melding the rugged metal with the softness of naturally-dyed linens and wax-dipped Victorian babydoll tops.
Whalen’s commitment to material innovation extends beyond traditional sustainability into a realm she defines as “emotional sustainability.” This concept is woven deeply into the fabric of her collection, where each garment, meticulously crafted from upcycled and vintage materials, carries a story enriched by its history. By transforming discarded fabrics into storied, sculptural garments, Whalen revives forgotten narratives, making each piece resonate with a sense of continuity and personal connection. This use of deadstock and antique fabrics isn’t just an ethical choice. Her materials carry histories, imbued with a palpable intent that resonates through their transformation into high fashion.
At the conclusion of her AW25 presentation, Zoe Gustavia Anna Whalen took it upon herself to extinguish all 100 largely handmade candles, a meticulous and evocative ritual. Whalen opted out of post-show bow to leave her audience with something more— a communal embrace of the present. Whalen, in an interview with i-D, reflected on her approach: ‘I like inserting something unglamorous into this space of fantasy. I’m very much just a person making stuff in a room, so introducing that energy allows people to bear witness to how real it is.’
In a world increasingly dominated by the immediate and the disposable, Zoe Gustavia Anna Whalen offers something increasingly rare: a dream woven in threads of past and present, a vision of fashion that dares to be both timeless and transient, monumental yet intimately personal. And perhaps this is the direction New York Fashion Week needs to embrace—a reminder that in the right hands, fashion is not just seen but felt.
select looks from Zoe Whalen courtesy Zoe Whalen
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