Designer Colleen Allen On What It Means to Be a Woman in America

How a rising star in the fashion world searches for inspiration from the past.

In an era where countless designers flood our Instagram feeds only to disappear without a trace, one name has quietly but powerfully captured the fashion world’s attention: Colleen Allen. Her now-signature fleece jacket was born by chance, inspired during a hiking trip. “I loved the idea of bringing fleece—something functional and utilitarian—into more traditionally romantic, Victorian-inspired silhouettes,” she explains. “I wanted to create pieces that could live in both worlds: something you could wear hiking in the woods, but that also carried this sense of drama and elegance.”

In a landscape where visual trends often outpace craftsmanship, Colleen Allen’s presence feels all the more striking. Raised in Chicago, Allen graduated from Parsons and Central Saint Martins before working at The Row and Raf Simons’s Calvin Klein. In February 2024, she debuted her first collection at New York Fashion Week. While some have lamented NYFW’s loss of vibrancy in recent years, the meteoric rise of designers like Allen has reignited excitement in the scene.Living in Brooklyn and working out of her studio in Dumbo, Allen emphasizes that everything is made locally in New York. Her commitment to fair wages and ethical working environments for the artisans she collaborates with sets her apart from brands that simply breeze through New York for a fleeting moment before disappearing. Instead, Allen is building something enduring.Even historic witch stories became a major inspiration for her FW25 collection—featuring “Witch Camp” logo tees. From refined silhouettes crafted with Polartec®️fleece to elegant dresses featuring raw embroidery details that drape fluidly over the body, her work reflects a delicate balance between innovation and tradition. Pieces inspired by the crinoline style have been worn by contemporary female icons like Charli XCX, Lady Gaga, and Saoirse Ronan, cementing Allen as a designer who resonates with the aesthetics of modern women. With just three collections to her name, Allen has already shown that a clear vision, strong fundamentals, and sharp design sensibility can leave a lasting mark on the fashion world.

How has the new year been treating you? Keeping busy?What led you to become a designer? Which designers did you admire early on?Was there a particular Alexander McQueen collection that stood out to you?How did your grandmother influence your creativity when you were young?You transferred from Parsons to Central Saint Martins—why? What were your priorities when choosing a school?

Since 2025 started, I’ve mostly been wrapping up my Fall/Winter 2025 collection, which I just showed at New York Fashion Week. I spent the first part of the year in the studio, finishing the collection, but now I finally have a bit of time to breathe. I took a quick trip upstate to reset, and next week, I’m heading to Paris. It’s been a busy start—mostly showroom appointments and sales meetings—but it’ll be nice to catch up with friends while I’m there.I was always making things, drawing, sewing, or reworking my clothes. My grandmother was a quilter, so I learned to sew young, and by ten or eleven, my bedroom became my first studio. Seeing Alexander McQueen’s work was when it all clicked. I knew I wanted to be a designer. In high school, I took weekend classes at the Art Institute of Chicago, immersing myself in fashion design and life drawing. That experience shaped me as an artist.Watching the live stream of McQueen’s 2010 SS felt surreal. Growing up in Chicago, far from the fashion world, it was an almost otherworldly experience. Before digital coverage was instant, you’d see photos later or read blog recaps, but a live show? That was rare. The energy was visceral. Now, it’s normal, but back then, it was a moment—and for me, it was the moment I knew I wanted to be part of this world.Whenever she visited, we’d set up a sewing machine and work on a quilt together, choosing fabrics, laying everything out, piecing it together. Looking back, that was my first introduction to design. I was four or five, sitting on her lap, watching it all come together. She taught without trying. If we were stuck, she’d say, “Walk away. Come back later, and you’ll know.” That lesson—giving ideas space—still stays with me. In a way, she unknowingly guided me through my first design process, and that’s really special.I always knew I wanted to be in New York, and Parsons felt like the place: New York and fashion. The program gave me a strong technical foundation, a structured education that built my confidence in construction and making. At Central Saint Martins, I was ready to push further. I had always wanted to experience London, and with the skills I gained at Parsons, I could embrace Saint Martins’s more free-form, studio-focused approach. One gave me structure, the other gave me freedom—they balanced each other out. For students deciding where to go, community is key. You learn so much from your peers, and finding people you connect with makes all the difference. That can happen anywhere—it’s about what feels right for you.

When you launched your brand, what was your biggest source of inspiration?Colleen Allen’s designs testify to the power of tailoring. What’s your working process?It was refreshing to see fleece used in tailored jackets. What drew you to this material? What are its advantages?Where do you find your most significant inspiration?So would you say your inspiration leans more toward the eighteenth or nineteenth century?What do you think is currently lacking in the fashion industry?

For the first time, I could focus on something deeply personal—exploring identity in an intimate way. My work has always helped me process the world, and launching my brand let me do that on my own terms. I was reflecting on what it means to be a woman in America, how that identity shifts, and how my perspective evolves with it. That continues to shape my work each season. The brand gives me the freedom to design from an emotional place, letting my ideas grow as I do.Since my background is in menswear—that’s what I studied in school—tailoring has always been central to my process. I tend to think more in terms of flat patterns rather than draping, approaching garments with a focus on structure and construction. When I design, I’m thinking about both the interior and exterior of a piece—how it’s built, how those details translate holistically. Switching to womenswear has been interesting, especially in how I think about tailoring in relation to the female form. That’s part of why I’ve become so drawn to historical garments—there’s an inherent focus on shaping the body through construction. Being able to try pieces on myself, to see how they move and fit in real time, has been a really exciting new way to work for me.The idea for fleece came to me while I was hiking in Scotland. I had this really visceral, almost spiritual moment—standing in this vast, beautiful landscape, feeling completely present. But at the same time, I was wearing all these practical hiking clothes, and I felt disconnected from the more romantic, internal version of myself that I often explore in my work. That contrast stuck with me. It became a fun challenge, especially in tailoring, to integrate fleece in a way that still felt refined. I’ve always been drawn to working with unexpected materials in that way—pushing against convention to see how far they can go.Much of my inspiration comes from the making process itself. Historical garments have a unique artisanal quality, and I am drawn to the craftsmanship behind them. Collecting antique pieces has shaped my approach, finding beauty in the precision and small imperfections that make a garment feel alive. To me, luxury is about intimate details, not mass production. My recent collection focused on corsetry’s interiors, not its restrictive elements, but the layering of textures, the interplay of grosgrain, cotton, and silk. Those hidden details are just as important as what is visible, and that level of construction is central to my work.I wouldn’t say I’m tied to a specific era. Instead, I’m drawn to different historical moments in women’s tailoring—ones that feel special and offer a unique perspective, distinct from how we construct garments today. It’s less about referencing a single time period and more about uncovering new old ways of thinking about the body. There’s so much to learn from historical craftsmanship, and I love exploring how those techniques can be reinterpreted in a modern context.I think the industry is still in a period of recovery from COVID. There was such a long stretch of isolation that we lost a sense of real, in-person community, and I’d love to see more of that return—more designers coming together, supporting each other, collaborating in meaningful ways. Maybe that means more parties, more shared spaces, or just more moments where we can connect beyond work. Fashion has always thrived on dialogue and exchange, and I think rebuilding that sense of togetherness is something we’re still working toward.

Is there anyone in particular you’d love to dress?Are there any other creative fields you’d like to challenge yourself in, aside from fashion design?When it comes to design, was there a favorite film that you got inspiration from costume design?What music plays in your studio in New York?What do you hope the rest of 2025 brings you?

I’d say Solange is someone I’ve always admired—not just for her style, but for the way she approaches artistry and performance. She has such a distinct, intentional presence, and I think she’d bring something really special to my designs. Mia Goth is another—there’s something so captivating about her, this quiet intensity that makes everything she wears feel cinematic. And, of course, Tilda Swinton. The way she carries herself, the way she fully embodies an identity beyond trends—she’s the kind of person who transforms clothes into something even greater. Dressing any of them would be incredible.I love creating in all forms and am always looking to expand my creative work. One day, I’d love to design costumes for a film—that would be an incredible experience. I’m also interested in creating installation work in a gallery setting, exploring fashion in a more immersive, artistic space. Both would be exciting opportunities to push my vision further.Yeah, I mentioned in a recent interview that is a special film to me. I also love and similar period films—the richness of their design is always inspiring. Lately, I’ve been drawn to historical films in general; the attention to detail and the depth of visual storytelling in them resonate with me.This past season, I’ve loved having female pop blasting in the studio—artists like Charli XCX, Björk, Rosalía, Caroline Polachek, and Doechii. Their energy keeps the momentum going.I’d love to spend more time with friends, be out in the world, and meet new people—that’s all I can hope for.