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This article is written by a student writer from the Her Campus at ASU chapter.

For all the wistful mermaids, those who love the markers of girlhood and rhinestones, there’s the Spring 2024 Sandy Liang show. As the fashion world eagerly gathered to witness her latest creations, Liang managed to capture the essence of unintentional matching in a unique and innovative way. Known for her signature downtown-princess style, Liang’s collection was a delightful fusion of nostalgia, whimsy and modernity that left everyone in attendance enchanted.

Sandy Liang’s new Spring/Summer 2024 collection is an ode to Sofia Coppola’s 1999 eternally aesthetic film The Virgin Suicides. The film doubles as the name of her collection, an assemblage of hyper-feminine garments that the Lisbon sisters themselves may have worn (if not for their tragic fates). 

Sandy Liang’s inspiration for this collection stemmed from a peculiar source: groups of women who unintentionally match their outfits. Liang recognized the inherent beauty in these serendipitous moments when women stand together, dressed in complementary styles. This inspiration served as the cornerstone of her Spring/Summer 2024 runway presentation. Even Liang says that she studied “similarly dressed groups of girls and women, and their shared modes of uniform dressing across time and cultures” to create the collection. 

If there was a main character for the new season, it would be a blend of Cecilia, the youngest depressed daughter of The Virgin Suicides mixed with a slightly melancholy Ariel. On the mood board backstage, Liang had pinned a note along with a few pictures: Cecilia wearing her ill-fitting prom dress along with flip flops, anime mermaids, and shiny, pearly conch shells. 

“She’s wearing her mom’s old lace dress with grippy sport sandals from TJ Maxx, on her way to collect bugs and rocks with shell phones in her ears” (so you can’t call her on her shell phone), along with a saying that stuck in her mind: “But a mermaid has no tears and therefore she suffers so much more,” a nod to Hans Christian Anderson. 

Showcased at the garden of the Cooper Hewitt Museum with music from Parker Radcliffe, the feminine ready-to-wear featured taffeta dresses, pleated skirts and bows, both in hair and on clothing. Navy, cream, and icy pink made up the bulk of the runway’s color palette, with the occasional splash of pale yellow or orange-red. It was naturally in tune with Liang’s blend of ballet core and pageant core with some 1970s twists that appeared in the form of Peter Pan collars, cropped capri pants, and pantsuit jackets worn as tops. Liang reimagined pleated skirts with a corporate, working royal twist, juxtaposing prim jackets with mini, sheer, and low-waisted skirts. Bows also took center stage, with oversized shoulder bags resembling giant bows tied over the shoulder, poised to become a fashion sensation.

The runway was a testament to Liang’s unique vision and her ability to transcend her “if-you-know-you-know” status. Attendees marveled at the sight of models donning Sandy Liang’s signature low-rise pleated skirts, ethereal taffeta dresses, and comfortable yet chic pointe-shoe flats. It was a coordinated symphony of fashion that echoed the unintentional matching phenomenon that initially sparked Liang’s creativity.

Liang integrated those details with some more Y2K pieces, such as a graphic tee or the brand’s classic super-short mini skirt. Models also wore necklaces and earrings constructed out of freshwater pearls and seashells dipped in metal. Liang’s hyper-feminine details including bows, rosettes, and rhinestones combined with simple dewy makeup bring out the natural flush of the models while the rest of the face is bare keeping them looking effortless while finished with slick, wet-looking hair to go with the “she seashells by the seaside” vibe. 

The fashion show culminated in a breathtaking moment as a bride graced the runway in a mini sailor dress. Adorned with an oversized collar, pleated skirt, and an abundance of bows, the bride embodied the essence of Sandy Liang’s Spring/Summer 2024 collection. Thunderous applause filled the venue, with front-row attendees, leading the ovation. It was a moment where everything felt perfectly aligned, just like the bows that adorned Liang’s designs.

Sandy Liang’s recent collaboration with Baggu had fans clamoring for her designs, as the collection sold out within moments of its release. Following that, Liang’s SS24 collection affirmed that her eponymous brand, while certainly known for its distinct look, isn’t a one-trick pony but rather an inventive, playful, and whimsical womenswear label worthy of its growing cult following. Along with the popularity of her ballet flats and Salomon sneakers, has propelled Liang into a new realm of recognition and influence within the fashion industry. Her consistent aesthetic, often meme-worthy, has now firmly established itself in contemporary fashion culture.

Isys Morrow is a Junior studying English and is a writer at the Her Campus at ASU chapter. In their free time, they enjoys reading, writing, rating movies on Letterboxd, and trying new coffee shops. She especially enjoys walking her dog Ace in the summertime.