If your vision of spring is steeped in black, delicate lace, Victoriana florals, and dramatic silhouettes that would make Nosferatu swoon, then Meruert Tolegen’s Spring 2025 collection is your dream come true. The collection, presented on the penultimate day of New York Fashion Week, unfolded in the shadow of a sun-drenched Central Park, offering a captivating glimpse into the designer’s unique aesthetic.
For those unfamiliar with Tolegen, it’s worth noting that her name has been circulating in fashion circles for some time, with style icon Lynn Yaeger being a devoted fan and a frequent wearer of her creations. Yaeger graced the show with her presence, looking effortlessly chic in a silk taffeta artist’s smock, a signature Tolegen piece, adorned with intricate black embroideries that whispered of Edward Gorey’s whimsical world.
Recent New York Fashion Week has been a showcase of women-led labels embracing conceptualism, minimalism, and practicality. Names like Tory Burch, Catherine Holstein’s Khaite, and Toteme have all captured the zeitgeist. However, there’s another group of women designers who explore a darker, more romantic, and undeniably gothic sensibility, drawing inspiration from the likes of Mary Shelley and, perhaps, a touch of Siouxsie Sioux. Simone Rocha and the enigmatic Elena Dawson, a British designer whose work graces Dover Street Market, are both prominent members of this group. Tolegen, it’s clear, is cut from the same cloth.
“I wanted to really focus on the artistry of what I can do,” Tolegen shared with the press. “I feel my label has been seen as very light and airy, but because of that I wasn’t sure I was representing it correctly to some degree; I wanted it to really reflect me.” By this, she means her own personal style, shaped by her love of goth rock music—she calls it “screamo,” a genre that resonates with her creative spirit. This collection serves as a powerful statement, offering a more authentic representation of her femininity, influenced by her journey from Kazakhstan to New York as a child, where she continues to reside and create.
The show opened with a captivating image: a woman, draped in a beige taffeta dress embellished with red beads, walked the runway, her sole accessory a singing bowl, which vibrated and hummed as she moved. The ethereal sound was a welcome respite from the frenzied energy of the city, leaving everyone yearning for a little sonic serenity. The show then unfolded, a procession of delicate youth and the not-so-young, navigating the space with grace and ethereal beauty. Black lace dresses, trimmed with a solitary flower or adorned with trailing trains, danced down the runway, while others were layered with black leather harnesses, adding a touch of rebellion.
There were glimpses of playful masculinity too. A couple of charming models sported Pierrot pajamas and slouchy golden-beige sweaters over black linen kilts. An hourglass black jacket, its waist nipped as if by a sudden gasp, was paired with stovepipe pants with scrunched hems, adding a touch of downtown chic. A tulle petticoat, reminiscent of Degas’s ballerinas, exuded a haunting Black Swan-esque elegance.
The fabrics rustled with a subtle whisper, the soft sound of ballet flats barely audible on the runway, creating a sense of quiet stillness. As guests emerged from the show, a palpable curiosity hung in the air: what will Tolegen do next? The world of fashion, it seems, is eagerly awaiting the next chapter in her gothic romance.
