For all to know (complete with references):
The earliest showings of “ethereality” took place mostly in visual art movements (such as Pre-Raphaelite, Victorian fairy painting, Impressionism, Art Nouveau, and Magical Realism), but none were defined or named by this characteristic at that time.
Also from the late 1800s through the 1940s, some classical dance (particularly that of Loie Fuller and Isadora Duncan), theater, and black-and-white/silent film imagery (particularly those that referenced fantasy or horror like The Phantom of the Opera) was decidedly ethereal in imagery but rarely defined as such.
Ethereal ballet imagery is now grouped under Ballet Academia and theatre in Theatre Academia. (Silent Film is a distinct aesthetic of its own and probably needs its own page.)
These “dark romantic” influences were clearly hybridized in a visual sense by 70s singer Stevie Nicks, who has often discussed her love of ballet and old movies in reference to her style and aesthetic (for instance, she has said that her song “Beauty and the Beast” was based on Jean Cocteau’s black and white version of the story).
In recent times, she has expressed being a fan of The Cure and of The Hunger (which features the band Bauhaus), although she herself seems mostly to be a mix of Ballet Academia, Gothic, Bohemian, and Witchcore and is not a Goth musician herself.
These influences carried on further into the early 80s American gothic side of the LA punk scene. The styles of early Deathrock were extremely varied, but several artists adopted a gothic bride style (seen in the LethalAmounts articles “Catholicism and LA Deathrock”), likely inspired by vampire brides in old B-movies. (This was the first stirrings of White Goth/Ice Goth.)
But it’s in Britain that we see the first musical genre delineated as “ethereal”: Ethereal Wave (discussed on the main Wiki article of the same name) was dubbed “ethereal” by music critics, typically to describe the bands and visuals of indie music label 4AD, particularly This Mortal Coil and Cocteau Twins’ singer Elizabeth Fraser.
After the rise of ethereal wave, Cocteau Twins and 4AD also helped to define the closely related, but much less melancholy genre Dream Pop (referenced in the Dreamy article on this Wiki and on main Wiki). Meanwhile, neoclassical darkwave was a Goth-leaning sub-genre closely related to ethereal wave due to another 4AD band, Dead Can Dance.
Several types of ethereal and romantic dark fashion were born at this time, including Ethereal Goth (on the Ethereal Wave main Wiki), Woodland Goth, and even the early stirrings of Gothic Lolita (thanks to the pop band Strawberry Switchblade).
These genres were further helped in the 90s by Sam Rosenthal’s record label Projekt and by his band Black Tape For A Blue Girl. During this time,
Romantic Goth and Fairy Goth were born (all on GothTypes Wiki), which were closely related to previous ethereally Goth aesthetics.
During this time, several directors known for “ethereal” and “dark” imagery and were fans of these musical genres began to mix in visual references (and even the music itself).
David Lynch was (and is) obsessed with This Mortal Coil’s Song to the Siren and wanted to feature it in his movie Blue Velvet. When he was unable to do so, he helped further pioneer dream pop with Julee Cruise’s album Into the Night (later featured in the show Twin Peaks).
Tim Burton was and is openly a fan of The Cure and Siouxsie and the Banshees, and often his imagery in films (particularly in Edward Scissorhands and Sleepy Hollow) is influenced by them and their music. Even his wife Helena Bonham Carter is considered to be an icon to many Romantic Goths (and even White Goths thanks to her appearance as Miss Havisham in Great Expectations).
It was only in the 2010s that lighter variants of ethereal music and aesthetics were delineated. During this time, 4AD artist Grimes (an avowed ethereal wave and Cocteau Twins fan) insisted upon creating the broader genre of “Ethereal” to describe all pop music described this way (which of course, Cocteau Twins remained a part of on the LastFM listing).
In recent years, social media has delineated “Ethereal” as a name to describe wholesome, dreamy, “happily ever after” imagery seen in princess movies and in children’s books. Of course this use of “Ethereal” is simply a generalization for the lightest, fluffiest Fairy Tale imagery (while Dark Fantasy and Mythpunk have long encompassed the dark side) and has no connection to “Ethereal” music or the imagery that developed therein.
It’s interesting to note that all pre-existing dark aesthetics described as “ethereal”, either came out of or were inspired by the Goth music scene in some way. This is a list of these styles, music, and aesthetics that originated from ethereal Goth music and related imagery:
Ethereal Goth/Ethereal Wave
Woodland Goth
White/Ice Goth
Romantic Goth
Fairy Goth
Neoclassical Darkwave
Dreamy/Dream Pop (to a lighter degree)
Shoegaze (which was born out of Dream Pop)
If anyone has further questions, please ask me and I will be happy to explain and provide further references.