BL8K Talks: Allina Liu’s Exploration of Sisterhood & Coming of Age

Allina Liu’s FW25 is darker, more ethereal, and thought-provoking—think girlhood, growing pains, and adolescent insecurities, all woven into a collection that explores the tensions of identity and self-discovery under the weight of societal expectations. With her signature knack for the supernatural, Liu crafts garments whose stories extend beyond their visual narrative—a creative exercise that ended with beautifully designed pieces, accompanied by a short story where rituals lie at the heart of it all.

After last season’s exploration of femininity—rooted in women-led cults and the traditions of Midsommar, drawing from Scandinavian folk costumes and customs—Liu now turns to a more universal experience, a story every woman knows: sisterhood, friendship, isolation, womanhood, obsession, and the ever-present idealized constraints of growing up. The result is a haunting meditation on dichotomies: the known and the unknowable, fear and the power of femininity. 

Speaking with Allina was nothing short of inspiring. After all, few designers can translate the weight of a story—whether through words or fabric—with such effortless allure.

Hi Allina! Congrats on the new photoshoot for your FW25 collection. I guess that’s the first question—how did it go? Can you give us a glimpse of what to expect from this collection and the artwork that complements it?

Hi! Thank you! The photoshoot went great for FW25. Our models for this season (Yeha Leung & Meg Murayama) are incredible creatives in their own right, so it was bound to go well. This collection was based on a narrative I wrote. It initially started as a thought exercise—just jotting down ideas—but for some reason, it took the form of a short story. It’s probably because I’ve been reading a lot more lately (I have a goal to read at least 30 books this year). The story was inspired by Dogtooth by Yorgos Lanthimos, The Haunting of Hill House by Shirley Jackson, and The Virgin Suicides by Sofia Coppola. It centers around two sisters who live an extremely isolated life with parents who are no longer mentally or emotionally present—and a demonic possession.

Elegance, sensuality, and comfort have always been at the core of your brand. What do these words mean to you, and how do they shape your designs?

While those qualities remain part of the brand, my focus has evolved. Today, my designs are shaped by three main inspirations: horror, Shibari (Japanese knot tying), and Dutch Golden Age paintings. A brand grows with you, and for me, that means embracing what truly excites me.

I used to be terrified of horror, but once I gave it a chance, I became obsessed. It’s one of the few genres still pushing original storytelling, and I believe a brand should be just as personal—there’s only one of you, so why not reflect that? Fine art and sexuality have always influenced me, and they naturally find their way into my work.

Every shoot or show I create is about world-building, transporting the viewer somewhere new. Design-wise, my aesthetic leans into straps, ties, cutouts, smocking, and hand-painted prints (thanks to the incredible Leanne Kissinger). The straps and smocking nod to BDSM’s themes of restriction and release, contrasting with the soft, coquette-like femininity of my pieces. That duality—sweet yet subversive—is something I love to play with.

In the Allina Liu universe, who are the muses? When you design, what kind of woman comes to mind? Who is she, and what qualities do you imagine connect her to your vision of timeless yet modern creations?

I’ll be totally honest—I don’t design around a muse. I’ve never approached design with a specific person in mind, and I don’t see my brand as aspirational because I believe anyone can wear it. As long as it makes you happy, that makes me happy.

Sustainability is a buzzword in fashion, often used without real meaning. How does Allina Liu approach it in practice?

The greenwashing is real! Nearly every brand today claims to be “sustainable,” but the truth is, true sustainability isn’t possible right now. That’s why we say we’re “sustainably driven” instead—we’re mindful of our impact and constantly working toward better practices.

Water usage is often overlooked in sustainability conversations, yet it takes an enormous amount to produce a single garment. Since we’re a cotton-heavy brand, we partner with mills offering recycled cotton to help reduce our footprint. We also produce in small runs—not just because we’re a small company, but because overproduction wastes energy and resources. Unfortunately, meaningful change in fabric sourcing depends on large brands pressuring mills to offer better options.

Beyond materials, I also care deeply about ethical production. As a Chinese-American, I’m aware of the stigma around “Made in China,” but many factories there operate ethically. I personally visit every factory we work with to ensure fair labor practices and safe conditions. Sustainability isn’t just about the planet—it’s about people too.

One of the most striking elements in your designs is the use of knots (Shibari). How did this become a signature element of your brand?

I touched on this earlier, but I’m happy to elaborate! Growing up in a Chinese family in the U.S., I noticed how aggressively sexuality was repressed in my culture. It struck me as odd—intercourse is one of the most natural human experiences, yet it was heavily stigmatized. My curiosity led me to discover Nobuyoshi Araki’s work in high school. His provocative photography, often featuring women in Shibari, is controversial—some see it as disempowering, but I find strength in the idea of surrender, even briefly.

That tension between restriction and release became central to my designs. The ties and straps in my work pay homage to Shibari’s intricate ropes, blending sensuality with structure in a way that feels both powerful and cathartic.

I’m really curious about what a creative’s day looks like, so I feel compelled to ask: What does a typical day in your life look like?

Here’s a loose schedule (of course, it depends day to day, but generally it goes a bit like this):

7am – Wake up, read about current events on my phone (a terrible habit I’m trying to break, as it affects my mood).

7:15am – Wash face, brush teeth, etc.

7:30am – Protein shake, hang out with my husband for a bit before both of us start work.

8:30/9am – Head to my studio in Brooklyn.

9:45am-11am – Sketch, develop ideas, or research.

11am-12pm – Lunch! I get hungry really early, always have for some reason.

12pm-5pm – Handle calls/meetings or continue working on whatever I was doing that morning.

5pm – Commute home and read on the subway (currently reading Orwell’s 1984—highly recommend).

6pm-7pm – Cook dinner (my husband will take over if I’m swamped, but I’m a better cook, so I prefer to do it—don’t tell him I said that!) and eat together.

8pm – End of the day. I’m slightly embarrassed to admit I’m usually in bed by this time. It’s funny because I used to be a total night owl, but now there’s nothing I love more than getting in bed early.

I’d love to take a peek at your mood board. I’m guessing there’s a photograph by Nobuyoshi Araki on it—if so, which one, and why does it inspire you?

Good guess! This time, it’s a photo of his wife Yoko—no BDSM in this one. I was drawn to her intense stare and spent some time pondering what her expression meant. I also love how sparse the rest of the room is. She’s the sole focus of the image, and nothing else matters. It almost feels isolating and lonely, which aligns with the main theme of my narrative for Fall/Winter 25.

You debuted on the New York Fashion Week calendar last year with your SS25 collection (congrats!!!!). What can we look forward to in this new cycle?

Thank you! That was actually our third show, but our first on the official NYFW calendar (a childhood dream realized)! Fall/Winter 25 will be press appointments only, hosted with special thanks to The Standard, East Village. I chose to take this season off from doing a show because, in full transparency, I’m really tired. On top of running a company, life happens, and it can add up. This year, I made the decision to prioritize my mental and physical health above the brand. I realized I can’t create strong work if I’m not feeling strong.

The exciting part is that I’m resting up for something really big—and that’s true. We’re planning our first runway show in September this year, and I can’t wait!

Images from Allina Liu’s cookbook FW25