Structured corsets, dramatic puffy sleeves and rich leather textures; Jayne Pierson’s SS25 collection, Annwn, is a journey into Welsh mythology, the supernatural, and the resilience of women throughout history. Inspired by the Celtic otherworld, Annwn is rooted in themes of rebirth and empowerment. At the core of the collection is an exploration of the persecution of women as witches during the Middle Ages, a dark chapter of European history that saw hundreds of thousands condemned for their wisdom and independence. In Wales, however, only a handful suffered this fate, a testament to a culture that valued, and perhaps still values, the knowledge and power of women.
Jayne Pierson, an award-winning designer based in West Wales, is known for her sustainable and bespoke approach and creates designs that bridge the past and present – with her collections, she reimagines the ancient wisdom of herbalists, healers, and midwives, transforming their stories into garments worn by consumers today. Drawing deeply from her cultural history, her work transcends fashion and becomes a form of storytelling.
Presented at the Adnaz Hotel, the Annwn collection brought these themes to life, blending contemporary silhouettes with historic references, juxtaposing structured leather with flowing fabrics. Leather clearly dominated the catwalk, appearing in dresses, jackets, coats and gloves. Shearling and sheer fabrics seemed to balance the leather’s rigidity, exemplifying the satisfying harmony of opposites that Pierson seems to so easily master. Puffy sleeves, corseted waistlines and high collars, reminiscent of 17th-century silhouettes, were paired with a dark palette consisting mainly of black, navy and purple, accented by metallics and lighter neutrals.
Backstage after the show, I had a chance to speak to Jayne about her collection and the inspiration behind it.
P: ‘Annwn’ is inspired by your Welsh Heritage and the supernatural. Why did you decide to explore these themes?
J: I love Welsh heritage and Celtic mythology. Wales, being the oldest Celtic country – older than Scotland and Ireland – is so fascinating, and its stories are so relevant today. During the Middle Ages, women were accused of being witches, when, in reality, they were just clever women who knew how to be midwives, make healing potions, and wield wisdom. They weren’t witches; they were just knowledgeable. Men didn’t understand that and it became their word against these women. However, I found it interesting that 200,000 women were persecuted as witches across Europe, but in Wales, it was only five. That speaks volumes about how Welsh culture valued these women and their contributions.
P: I guess women were, and often still are, seen as a threat by men. Some things haven’t changed in that regard.
J: Absolutely. These women were independent – they had their own money, their own homes, and strong community connections. That independence was threatening then and, in many ways, it’s a threat now, 400 years later. In Wales, though, there was this recognition of their value – Welsh culture understood we need these wise women in society.
P: How do you think these themes hold relevance today?
J: They’re hugely relevant. When you look at issues like sexual assault, it’s still a woman’s word against a man’s. It was like that then, it’s like that now. In the Middle Ages, King John used to pay men to be witch hunters – these men wouldn’t just kill these women, they would take their homes and belongings.
That power dynamic persists today, though in different forms. I think now, more than ever, we need women to support each other, to create our own “coven,” so to speak.
P: These are dark moments in history, yet your collection is so wearable, current and beautiful. How do you maintain your artistry whilst balancing these contrasting ideas in your work?
J: I thought a lot about ‘Annwn’, known as the underworld of Wales – in my mind, I believe it is a real place, parallel to our universe. It is a beautiful magical kingdom you must cross perilous seas to reach. Rhiannon, the goddess of rebirth and fertility, lives there surrounded by her birds. This is an important part of our Celtic heritage: King Arthur sailed these seas to get to her and took some of his knights with him. They were told that if they ate the local food and kissed the local women they wouldn’t be allowed to come back, so in the end King Arthur came back on his own. My daughter’s middle name was Rhiannon, and she passed away from cancer when she was four. I believe she lives in Annwn, evolving into a strong, powerful woman. It makes me feel close to her in some way. Every collection I make is a chapter in her book.
P: As a designer, how important is it for you to discover your Welsh heritage? What role does Wales play in the fashion universe today?
J: It’s almost vital for me to draw from my heritage, and I think we need more representation in fashion from Wales. While I love the British Fashion Council, there is a bias toward those living within the M25.
Designers who live outside of London don’t get the same support. I’m hoping to start a Celtic Fashion Council to support all Celtic Nations, not just Scotland, Ireland and Wales but also Patagonia, South America, Cornwall and Northern France. There is so much emerging talent in these places, we just need to create a platform for them to showcase their work.
P: Looking forward, what excites you most about your work and future collections?
J: Educating clients to “buy less, choose well” is very important to me. I used to work for Vivienne Westwood so this ethos is ingrained in me. It’s integral to consider ‘Do we really need another garment?’ and if we do then we need to make it last a lifetime. It needs to be upcycled, changed and reconfigured, if necessary. Everything I make is bespoke, a one-off or limited
edition. This is why I don’t stock big shops – everything is made to order, a single piece. This approach to fashion excites me.
P: And looking back, what has been your proudest career moment?
J: I never think anything I do is good enough, ever. I think it’s the nature of being a creative, we always want our work to be better. What I really love and cherish is the incredible women I’ve worked with today: models, assistants, and hair and makeup teams. It’s never just one person; it’s an army of people coming together with a shared vision. I’m really proud of the community we’ve built, it makes these moments special.
By weaving Welsh mythology with contemporary looks, Jayne Pierson reminds us that history and fashion are deeply connected, offering a crucial perspective on tackling issues that persist today. The enduring relevance of the past strikes a painful chord – her description of Awwn, however, which celebrates the wisdom of women and the power of collective action, offers hope for a better future.