This text presents a sociological approach to the historical role that the figure of the witch has played and continues to play. Omnipresent in mythology and art, it is hardly surprising that fashion and cinema have drawn upon her as both a source of inspiration and a mirror of contemporary society. Both the catwalk and the screen have underscored the relevance of black in her attire, establishing a direct association between sombre garments and sorcery. It is inconceivable, for instance, to imagine a witch costume without certain accessories such as the hat or the broom. Yet a question arises: should we remain faithful to this imaginary, reinforced over centuries by recurring iconographic elements, or should we reconsider and deconstruct it? Accordingly, the objectives proposed here are, on the one hand, to historicise the concept of the witch as a social construct, with women erected as the embodiment of evil, and, on the other hand, to examine the role of clothing in reinforcing this construct through an exploration of the principal tendencies in fashion shows and the significance of costume design in fantastic and horror cinema.
This text presents a sociological approach to the historical role that the figure of the witch has played and continues to play. Omnipresent in mythology and art, it is hardly surprising that fashion and cinema have drawn upon her as both a source of inspiration and a mirror of contemporary society. Both the catwalk and the screen have underscored the relevance of black in her attire, establishing a direct association between sombre garments and sorcery. It is inconceivable, for instance, to imagine a witch costume without certain accessories such as the hat or the broom. Yet a question arises: should we remain faithful to this imaginary, reinforced over centuries by recurring iconographic elements, or should we reconsider and deconstruct it? Accordingly, the objectives proposed here are, on the one hand, to historicise the concept of the witch as a social construct, with women erected as the embodiment of evil, and, on the other hand, to examine the role of clothing in reinforcing this construct through an exploration of the principal tendencies in fashion shows and the significance of costume design in fantastic and horror cinema. Read More
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