Dressing the Wild Woman
by Meg Elliot @megan_daisy_
We had a funny summer here in the UK. The English hunger for weather-related moaning was well and truly satisfied during months that saw grey skies bursting with occasional, blistering days of sunshine. Despite considering autumn The Best Season of the Year, I had resisted the knowledge of its incoming - surely we deserved more sun than we had had this 2021?! Nevertheless, my desperate delusions of a longer summer were blown away by Autumnal charm: the stingingly fresh early morning mists that beckon in warm days; cosy jumpers worn with scarves, but no coats (yet); the darkening of the evenings and the smell of woodsmoke from the season’s first fires.
The transition from summer to autumn is one of the most pronounced seasonal changes of the year, and has held folkloric significance for generations. In the female archetypes, autumn, and the waning moon, is represented by the Wild Woman. Lesser known than her predecessors, the Maiden (spring) and the Mother (summer), the Wild Woman breaks free of their socially accepted tropes and becomes the archetype feared as a free and independent spirit. ‘She understands the magical qualities of the world, the irrational, the genius, passions and the dark side of herself and those around her, and transmutes it all into healing. She is the wit ch, the shaman’.
And so, the freshness in the air holds both the Wild Woman and the falling leaves. It is the season of magic and emancipation. In Women Who Run with the Wolves, Clarissa Pinkola Estés writes: ‘over time, we have seen the feminine instinctive nature looted, driven back, overbuilt.’ In order to reclaim this nature, we need to undertake, ‘‘psychic-archeological’ digs into the ruins of the female underworld’. Part of this excavation exposes the gendered witch. Contrary to accepted stereotypes of the broom-wielding crone, complete with wart-covered face and husky growl, the witch is rather a collection of attributes that transcends gender definition: a recognition of the rhythms of the natural world, and an attendance to it, the practise of radical empathy, and kindness. When chosen for Emma Watson’s book club, ‘Our Shared Shelf’, her readers questioned what space Women Who Run with the Wolves held for trans and non-binary people. Estes replied that, ‘there is not, as far as I know, and I have over my lifetime consulted with myriad crones, hobbits, faeries, gnomes and leprechauns, any final saying about what is a woman.’ We are rather each ‘made from divine and mundane ingredients available to us all.’
The image of the witch continues to be re-shaped in contemporary culture, with designers producing witch-y outfits to varying degrees of success, landing on the catwalks in those transitional seasons of spring and autumn. In spring 2013, Ulyana Sergeenko reworked the classic cape-hat combo with ergonomic design, complete with platform ballet pumps. In the autumn of 2006, Jean Paul Gautier rather grotesquely had his witches bring cats on the runway, writhing against crumpled velvet. Perhaps most successfully, Martine Sitbon clad Kate Moss in a grey veil atop a navy suit in the spring of 1993, with wispy mesh emanating from a cauldron shaped hat. Here she walks classically aloof, her outfit acknowledging the visual motifs so tethered to the Witch-Woman, but re-appropriating it with every stride: straight from board meeting to ritual.
Margot Adler describes the witch as “a cluster of powerful images”. The act of dressing could therefore be one way to harness the incalculable essence of the witch, as a form of spiritual practice in the ritual of selection and creation. And if that image is heightened in the transitory seasons of spring and autumn, when the landscape is visibly shifting, then now is an interesting moment to re-engage with our inner wild woman/witch, and see how she manifests visually. So, I asked a couple of my most witchy of friends (and couldn’t resist having a go myself) to channel their inner wild woman this autumn, how they would define what a witch is, and why they chose the outfits they did.