Hooded dresses—symbolic of the soft power of women

Archaeological records often depict Persephone with her face half-hidden beneath a hood. Once she descended into the underworld to become Queen beside Hades, the hood served more than a ceremonial purpose. It became a symbol—of her transformation, of boundaries drawn, and of a gentleness edged with steel.

Before her descent, Persephone represented vitality, the seasons, and renewal. But once tasked with overseeing the threshold between worlds, she shed the image of a mere spring maiden. The hood, then, became both armour and veil—containing her emotions, curating her gaze, and setting the terms of her presence.

Another enduring image from classical antiquity is that of the Vestal Virgins, guardians of the sacred flame in Vesta’s temple, dating back to the reign of King Numa Pompilius (753–673 BC). They were the quiet fulcrum of Rome’s spiritual and civic order.

Portrayed in flowing white tunics, their hoods and shawls were not simply modest adornments. They marked a deliberate separation—from public life, from temptation, from personal desire. The hood, in this context, suggested both reverence and restraint, a visual thread linking duty with dignity.

During the Middle Ages, the hooded cloak was a defining element of monastic dress across Catholic orders. In Ireland, the Kinsale cloak—recognisable by its distinctive hood—remained a staple of traditional women’s attire well into the 20th century.

Across religion and folklore, the hooded garment has come to represent more than mere practicality. It carries with it a layered symbolism: a shield, a statement of identity, or perhaps a whisper of enigma. These cultural echoes have kept the hooded dress alive in contemporary fashion, continually reimagined by designers working in Avant-garde, Futuristic, Gothic and Dark Elegance aesthetics.

Read more: 5 Vietnamese fashion brands making their mark with sustainability commitments

The headdress itself has long held cultural resonance, whether as part of Tudor regalia in 16th-century England or in the religious attire of the Islamic world. Designers like Azzedine Alaïa and Yves Saint Laurent, both of North African heritage, grew up surrounded by the symbolism of the headdress. When they brought it into haute couture, it became more than a reference point—it evolved into a statement of shared meaning.

Throughout his career, Azzedine Alaïa redefined the female silhouette through sculptural couture, often incorporating the hood as both a design flourish and a protective ritual. Since 1969, Yves Saint Laurent had been weaving the hood into his own vision of modern femininity, blending influences from East and West, with a balance of strength and sensuality.

Today, Alaïa’s creative director Pieter Mulier continues to honour that legacy, placing the hood at the centre of his narrative—crafting pieces that range from figure-skimming jersey to ethereal chiffon. Meanwhile, Harris Reed uses the hood as a storytelling device, conjuring heroines who inhabit both mythology and a more fractured contemporary world.

When it comes to Avant-garde headwear, Rick Owens remains a singular force. His work fuses minimalism with gothic attitude, nodding to rock 'n' roll and streetwear without ever courting convention. He does not chase trends, nor does he design for popular appeal. His vision stands apart—an alternate fashion universe where structure is secondary to expression, and ‘anti-fashion’ is the underlying creed.

Read more: Louis Vuitton brings Cruise 2026 runway to Apostolic Palace heritage

Vietnamese fashion often mirrors the unpredictable facets of human consciousness and delves into the enigmatic world of mysticism. At the close of 2024, creative director Cuong Dam unveiled the Paramount collection, a body of work that placed fashion in dialogue with the philosophy of Yin and Yang. The collection posed questions about human nature, with a contemplative message: seek “the ultimate god within each individual”.

The inclusion of the hood in this collection serves as a striking motif—evoking the quiet mystique of a woman beneath silk, while also conjuring a sense of restraint, command and reverence. Rather than accentuating familiar silhouettes, Cuong Dam employed draping techniques to shape garments that echo the contours of the human form.

Gracie Abrams turned heads on the 2025 Grammy Awards red carpet in a Chanel-inspired bridal gown. Crafted from translucent cream chiffon and adorned with classic camellia accents, the off-shoulder piece, paired with a sheer veil that enveloped her head and shoulders, transformed her into a vision of a modern “Chanel bride”.

Not long after, at London Fashion Week 2025, Florence Pugh opened Harris Reed’s Autumn/Winter show in a sheer black gown, cinched with a corset and falling into a dramatic skirt. The look was crowned with a hood and metallic accents at the waist—subtle, yet bold enough to spotlight her figure. At the London premiere of A Complete Unknown (2024), Monica Barbaro opted for quiet confidence in a minimalist black gown by Schiaparelli, defined by sharp, straight cuts.

During the promotional tour for Dune: Part Two in mid-2024, Florence Pugh and Anya Taylor-Joy embraced the hooded trend with designs by Valentino and Dior. These garments did more than reference the film’s themes—environmental tension, power struggles, spiritual motifs—they embodied them. Though male characters led the plot, it was the women who shaped destinies. Behind the storms and beneath the surface, they moved the narrative with quiet authority.

Reflecting on the allure of hoods, Tiffany Hsu, buying director at Mytheresa, noted: “Many couture collections have embraced hats and hoods, bringing a sense of richness and intrigue.” This was certainly evident at this year’s Fashion Week, where hooded silhouettes graced the runways of Balmain and Max Mara.

Max Mara cast its modern heroine in wool and cashmere, favouring muted tones and clean lines. The result was a brooding elegance that flirted with Gothic restraint while remaining grounded in contemporary minimalism. Balmain, by contrast, wove the hood into a more forceful vision. Under Olivier Rousteing’s eye, knitwear became a form of armour—feminine, yes, but unapologetically powerful.

In step with the wider revival of vintage aesthetics, hooded dresses now serve as more than nostalgic echoes. They offer fashion a fresh voice—one that reminds women their strength often lies not in the obvious, but in what remains concealed beneath the hood.

NOW READ

What makes ceramic so attractive in the world of jewelry?

When sustainability becomes the new language of responsible beauty brands

F&B becomes a potential playground for luxury fashion brands