What do crushed velvet, heavenly motifs and Practical magic stars Do Sandra Bullock and Nicole Kidman have in common? They encompass an ultra-specific and ultra-moody aesthetic that many Gen Zers and millennials find themselves enchanted by in the fall: whimsical.
Coined by architectural designer Evan Collins in 2020 as ‘whimsical’ and eventually shortened to ‘whimsigoth’, the aesthetic is, as the name suggests, a mix of whimsical and gothic styles. The aesthetic first emerged in the late ’80s, reached its peak in the early to mid-’90s, and all but disappeared by the new millennium.
“At the time I just called it ‘creepy, mystical, gothic, heavenly,’” Collins, founder of the Consumer Aesthetics Research Institute, told Yahoo Entertainment. “[Whimsigoth] seemed to fit best with what I was looking at, with the gothic influence of having this dark and moody side and incorporating heavy metals and mystical imagery and iconography… but then mixed with all these very playful, heavenly images.”
Plush chairs, sheer and lacy fabrics, tapered candles, curly, wrought-iron furniture and tarot iconography are often found in whimsical homes. The average whimsical enthusiast probably watches Tim Burton films, longs for the designs of Thierry Mugler and has Mazzy Star on repeat. While perhaps the most defining characteristic of the modern whimsical woman is her love of ’90s pop culture witches like Practical magic characters Sally and Gillian Owens.
The 1998 film, an adaptation of Alice Hoffman’s bestseller of the same name, has become synonymous with dramatic and exaggerated aesthetics. The romantic fantasy stars Bullock and Kidman as sisters who come from a long line of powerful female witches. Although they manage to avoid witchcraft for most of their lives, the sudden death of Gillian’s abusive boyfriend forces them to enter the unknown territory of darker, harsher magic.
“There is always a problem with anything made of, by and about women, which is sometimes diminished. I think [Practical Magic] claims what is gothic and what is whimsy and what is witches,” Hoffman told Yahoo Entertainment. “That way I have a very good feeling about it.”
Academy Award-nominated costume designer Judianna Makovsky and husband-and-wife production designers Robin Standefer and Stephen Alesch of Roman and Williams – who designed and crafted the film’s Victorian house – are largely responsible for cultivating Practical magic‘s coveted aesthetic. (“If I had imagined a house, it would have been the house they created,” Hoffman said.)
In an interview with Elle, Makovsky, who also designed costumes, explains Great expectations, The Hunger Games and a slew of Marvel films, she said she curated wardrobes that catered to the sisters’ “distinct” personalities.
Sally, the owner of a local botanical shop, wants to fit in with the others in her town, so she often wears jeans and is more subdued with her style. Makovsky even lent her personal Blumarine sweater with velvet green embroidered leaves for Bullock’s character. Gillian, on the other hand, has more of a bad girl personality. She opts for sexier silhouettes, like the Gen Z-beloved crushed velvet slip dress that was purchased from Fred Segal and then completely reworked to better fit Kidman into the film.
“When I write, I write the characters from within. So I don’t see them in the same way. I don’t necessarily see them. I’m kind of one of them. But if I had to get them out of my mind and into a room, it would be exactly this,” Hoffman said of Makovsky’s clothing choices. “The kind of maxi skirts and the vintage pieces. It all felt a bit hippie and a bit modern.”
Sartorially speaking, whimsical overlaps heavily with the aesthetic of the early to late 1990s known as Renaissance Revival. (Think ’90s Shakespearean, Elizabethan, and medieval silhouettes and fabrics, according to Collins.) Renaissance Revival fashion can be seen in Practical magic and Shakespeare-adapted teen films such as 10 things I hate about you And Get over it.
From a design perspective, Collins cites the short-lived furniture and fashion catalog Sanctuary by Grammy-winning artist Cher, which published just two editions in 1994 and 1995, as a perfect example of the aesthetic. He also encourages whimsical enthusiasts to look at the work of the “overlooked” designers who first conceptualized the style, including Mark Brazier-Jones, Garouste and Bonetti, as well as Margo Chase, who created the logo designs for Charmed And Buffy the Vampire Slayer.
Hailey Satersad, who describes herself as “your whimsical ’90s aunt,” posts videos of her heavenly-themed bedroom on TikTok. Satersad has amassed over 1.4 million likes on her whimsigoth room content.
“I’ve always loved everything about suns and moons,” she said. “I remember a friend owned the classic ’90s heavenly bedding and I was so jealous. I’ve always been attracted to super cozy living spaces and places where it feels [like] people can fully express themselves.”
Jonathan Carson, a TikTok creator known for his “Favorite Aesthetics” series, first encountered Whimsigoth as a child in the 1990s at his neighbor’s house. (“That woman liked royal blues, sun and moon motifs, violet velvet and beaded doorways,” he said.)
“[Whimsigoth is] a lifestyle that channels creativity, divinity and a deep connection to the mystical. An infusion of the everyday environment with a touch of magic. Practical magic ticks all the boxes when it comes to nostalgia and strong feminine energy, and brings something special to the table,” he explained.
While there’s no definitive answer as to why Whimsigoth is back and bigger than ever, Collins wonders if the rise in popularity could be related to what he calls a “collective mourning.”
Early 1980s design, Collins notes, was characterized by a “bright excitement” that had noticeably waned by the end of the decade due to the AIDS crisis. Whimsigoth would become massively popular just a few years later, which Collins suggests may have something to do with the general public being drawn to the mystical or mythological as a way of coping with the effects of the epidemic.
Collins believes the coronavirus pandemic may have led to a similar societal gravitation toward the dark and light of whims.
“With the trauma of what everyone was going through at the time, there’s kind of a turn to the mystical or mythological as a way to grieve,” he explained. “I think in times of struggle and stress, people want to shift to something more comforting in a way.”
