NYFW SS25: Allina Liu

Image: Kiera Simpson

First launched in 2015, Allina Liu is a label based in New York City. Having honed her design skill at fashion houses such as The Row, Thakoon, Rebecca Taylor and J.Crew, Allina Liu is a force to be reckoned with. With a tagline like “wearable romance” it’s impossible not to wonder what the coalescence of “horror, shibari, and dutch old masters” would produce. Very fitting with this selection of attributes, the Allina Liu presentation took place in St. Mark’s Church in-the-Bowery in NYC on September 7th from 4pm. 

The presentation immediately captivated us as soon as we walked into the chapel. An end of summer mugginess engulfed us, adding to the creepy feel which exuded off of the models. Not only this - heavy bass and haunting instrumentals played over the audience as a contortionist dancer was positioned at the centre of the room in all black. As guests walked and intermixed themselves into the environment, models followed their gaze, locking eyes and piercing even the most unfaltering of attendees. There was an intoxicating unsteadiness to the scene that seduced your attention. Allina wanted to create a cult-like immersive experience, and she did absolutely just that. 

Image: Kiera Simpson

Fresh-faced doll like models stood in two rings at the centre of St. Marks. The outer circle was dressed in all white garments with intricate details that would’ve been noticed but not fully embraced during a runway show. This revelation particularly highlighted the expansiveness that presentation format fashion events can offer. The inner circle of models were dressed in dark denim that was detailed with red contrast stitching. All the while, dried flowers seeped from near invisible pores. Those in the inner circle were more sensual in their movements intensity of their fixation on audience members. Those on the outskirts seemed a bit creepier and naive, as if they were beckoning you toward something they didn’t quite understand themselves. Each model stood on a dried tuft of moss, shoeless and stationary. 

This is a brand dedicated to finding the seams which combine sultry, comfortable, and timelessly stylish elements. Allina’s craft delves into the beauty in contradictions which appear when opposites attract. Her collections include inspiration from shibari (art of Japanese knot tying), fibre artists like Do-ho Suh, 17th century dutch portraiture, and photographers like Nobuyoshi Araki and Ren Hang. Quality is a cornerstone to Allina’s vision, paired with her undying pursuit of stellar craftsmanship as it ties into the brand’s ethos of sustainability and ethical labour.

Image: Kiera Simpson

This season’s show entitled Good for Her is focused on celebrating femininity through the Pagan tradition of midsommer and woman led cults in particular. These pieces nod to inspiration that’s been gathered from traditional Scandinavian bunads, which are garments based off of old folk costumes from the Norwegian farming society. Traditionally found scallops and geometric necklines have been enlivened with a contemporary update. The result? Unique wearable pieces with rich historical influence.  

Garments were varied though uniform in their presentation. Balloon skirts appeared alongside ruched tops, puff sleeves, binding ribbon, and bow-like fixtures across the collection. Meticulous attention to detail was clear in each of the works and the ways in which they overlapped into each other, double cuffs appeared in the same garments as petal-like necklines while every model was styled to have braided hair with interchanging white and black ribbon depending on the position they occupied. 

Image: Kiera Simpson

We had the brief privilege of speaking with Allina during the presentation, who was able to offer a more in-depth background into the inspiration behind Good For Her. 

What was the general inspiration behind this show, specifically for a reader seeing your work for the first time? 

“Presentation formats are really my vibe, I really enjoy world-building. The concept came off of the difficult socio-political time we are currently living in. I wanted to build this world where women are a little bit creepy, intimidating. There’s something really uncanny valley about them, the way they’re smiling at you and trying to invite you into this cult. 

Horror is a big source of inspiration for me, Ari Aster is one of my favourite directors ever. I want to see women in a creepy, weird position. One that makes you feel a bit intimidated and a little bit scared.” 

Image: Kiera Simpson

I noticed a lot of intricate detail, which is why presentation format can be so exciting - can you break down some of these nuances in the show and tell us what they mean? 

“The moss going up the leg is a great catch. These models are the disciples, those in the outer ring are pledges, the newest of the cult. The disciples are in denim as a nod to Tony Alamo who was a cult leader in the 70s. The moss travelling up the disciples’ legs has to do with them already being pulled into that world, while the pledges are still fresh. There’s an element of rot I really like bringing in.”

“Daffodils on the disciples nod to pagan rituals of self love, something that they used to create more resilience in their spells. Self love, and working towards it has always been a struggle. I want people to feel like this isn’t just a fashion show, that it’s an immersive experience you’re getting pulled into”

Lastly, what could you tell your younger self that other young creatives can use at the beginning of their creative journey? 

“Stop fucking around. Heh, I’m just kidding. I love that question. Anyone who wants to start out in this industry: Don’t change your brand voice, don’t swap around a lot. What’s more powerful and what’s reading for people these days is individuality and being yourself in your work.” 

Commit, do what you like.”

Previous collections are detailed yet wearable, with layer-able doll-like silhouettes. You could see these pieces on both the protagonists in a small town who aim to make it in the big city. About as easily as you could a lead suspect in a murder mystery who is cunning as she is “innocent”. Puff sleeves situated buffered against ruched detail, asymmetrical black bows seemingly tied up the side of balloon skirts and otherwise bare-skin cutouts were shielded by intricate weaving lace. It was representative of a risqué Dutch* house on the prairie, but in a way that clearly includes wearers with varied stylistic preference. Asymmetry and flyaway ties were staples to this collection, introducing further movement in addition to the multi-textured shapes and structured pieces. 

Image: Kiera Simpson

Sustainability is an important element of Liu’s work, this season efforts expanded in new directions whilst collaborating with Brooklyn based lab, TômTex. Working alongside one another, environmental concerns directly overlap with Liu’s garment ideations, using a revolutionary biomaterial which has been crafted out of an enzyme derived from recycled seafood shells and mushrooms. Guests were also witness to many “leather” elements which are notably cruelty-free and naturally biodegradable. 

Allina Liu’s Good for Her was one of the most striking fashion events I’ve had the privilege of attending yet. The creepiness of the models, the bass-heaviness of the curated playlist, the environment of the chapel, every detail of the garments down to the organisation of the works all came together and created an event that was standalone.