Hi, I’m writing from the Renaissance Faire! I’ve wanted to go since 3rd grade when I played Lysander in a YMCA production of a severely abridged A Midsummer Night's Dream (I wanted to show off my stage fighting and the weird hat my mom made me) but somehow through the years I’ve never made it. But we are rectifying that on this beautiful weekend!

Sumalee Eaton is a theatrical costumer and pro stitcher with a background in historical garment making. I fell in love with her TikTok videos on medieval costumes for screen and stage and just had to get her take on the medieval and renaissance influences trending today:

A Stitch In Time

an interview with SUMALEE EATON

Ella: You're a theatrical costumer and pro stitcher with a deep wealth of knowledge on historical garments. What first interested you in costume making and the study of historical dress?

Sumalee: I was hooked on costume movies from a very young age, maybe 3 or 4 years old. Some of my earliest memories are of rewinding VHS tape pirated from Blockbuster or recorded from live TV: Ever After, Labyrinth, the 1998 Merlin miniseries, etc. and I spent a lot of time as a young child playing dress up with vintage clothing and craft supplies, trying to recreate costumes and vibes from those films. So I have basically always had this huge itch to make costumes that I’m still, to this day, trying to scratch.

To me, costume-making and studying historical dress are all one and the same thing, so it happened concurrently in my case. I chose costuming as a “career path” when I was 11, and I learned most of what I know from following early 2000s blogs, Livejournals, and message forums. Costume construction can’t be learned from modern RTW clothing, so as you study pattern cutting, fabrics and fibers, trim and embellishment techniques, etc, you’re really studying the evolution of clothing the human form through the ages, which usually becomes this cute little addiction within itself!

E: Do you use any tools or techniques in the design and construction of historically inspired garments that differ from how you’d approach making modern clothing?

S: Not really– I come from entertainment costuming, so my main obsession in costume construction is the intersection of historically plausible presentation and modern techniques. A lot of hobbyist costumers focus on historical techniques, especially hand sewing, as part of their practice. It's a very pure way of approaching things and I really admire it, but a bit precious for me as an individual. I like to use every trick in my toolbox, with the intention of making something still appear handsewn or handworked, which is a different challenge altogether.

I would say the patternmaking is the real difference-- if you use historical shapes to cut your bodice, sleeve cap, armscye, skirt, etc, it all adds up to a very different and more authentic feeling garment, even if it is entirely machine sewn.

E: I really love the videos you've made on Early and Late Medieval costumes where you shared some wonderful tips for what shapes and fabrics one should use for each era. Within the broad span of the Middle Ages, is there any specific period of time that you find especially fascinating from a fashion perspective?

S: The late 14th century is incredibly interesting (especially as a student of patternmaking!) because it was the advent of tailoring as an artform. I love this moment in history because the evolution of fashion closely mirrored other innovations, such as the Gutenberg printing press, which would ultimately culminate in the explosion of arts and culture during the Renaissance. To me, these ideas are all linked-- artists were pushing the limits of what could be done from a technological perspective and developing new techniques as a result.

And of course, shoutout to the bliaut of the 12th century. It's one of the most iconic Medieval silhouettes, and you can see its impact and influence in almost any media depicting the Middle Ages. Just look for the giant sleeves!

E: In a video you made about costumes in Arthurian movies, you expressed that you don’t outright dislike historically inaccurate costumes. What purposes can a costume serve that outweigh accuracy?

S: Story always outweighs historical accuracy. Costuming in film is one part of a larger, collaborative piece of art, and the filmmaker gets to decide how that story is told, and all elements of the film should support that vision and message. With respect to my fellow costume nerds, sometimes I think we get a little too swept up in the accuracy element, almost to a bizarre, fetishistic extent, and forget to just enjoy what’s in front of us. Costumes create mood and vibes, they illustrate character without dialogue…but perceiving that can sometimes mean surrendering your expectations and just trusting the filmmaker and costume designer. Sometimes it doesn’t pay off…most of the time it does.

E: Are there any elements of real medieval or renaissance dress that you think should always be preserved in costumes set in those eras? 

S: I’m sort of open, but I really love seeing clothing interacting with the body in a truly Medieval way. This was the last period before structured undergarments became the norm in Western fashion, so I love to see a very natural torso shape, with a lot of fabric fullness around the body, which to me is the true spirit of Medieval dress. High coverage layers are another important element, and I love a good mix of headdresses and hats.

E: Do you have a favorite medieval or renaissance costume from film, TV, or the stage?

S: The main costume that comes to mind is Ellen Terry’s Lady Macbeth gown, which is a gorgeous Victorian take on a 12th century bliaut. The main textile is actually a combination of knit and crochet, lined with a solid silk fabric, and it’s embellished with thousands of iridescent beetle wings. It’s just an audacious and beautiful garment!

E: Do you have a favorite medieval or renaissance costume that you have worked on?

S: I really liked making my Anne Boleyn costume (which is Early Modern but still technically part of the English Renaissance), partially because it’s incredibly subversive from a construction perspective. I had no money at the time, so the materials were hopelessly cheap, but I tried very hard to get the silhouette right while still adding my entertainment costuming elements (pockets, center back zip, built in forepart, faux chemise neckline, etc). Wearing the French hood is also very fun and feels quite sexy in its way.

My current WIP is fantasy Medieval, an original design based on Alicent Hightower as portrayed in the book “Fire & Blood”, but it’s been very fun to combine different historical design elements in somewhat nonsensical ways.

E: There is an emerging trend that blends medieval and renaissance elements with off-beat contemporary fashion, dubbed "Weirdieval" online. How do you feel about the utilization of historical elements and allusions like this in modern trends?

S: I think it’s great! I very much feel that Medieval fashion is an acquired taste and in many ways challenges what we in Western culture have been conditioned to believe is beautiful, so to me, it’s fun and provocative to incorporate Medieval elements into modern fashion. It’s borderline absurd, and in a 2024 world and all that it entails, I’m so here for that.

E: What influences from pop culture do you think could be influencing this rise in interest?

S: I am no expert, but if I had to guess, I would say the rise of Game of Thrones as mainstream television show circa 2011-2019 really laid the groundwork and tickled the general public’s interest in Medieval stories and iconography, and paved the way for current stories like House of the Dragon, Rings of Power, and even Dune to influence today’s fashion. I have found (as an ancient 30-something on Tiktok) that the audience for HotD skews much younger than GoT, and so many of my younger followers are obsessed with and inspired by the costuming in both shows.

Aside from TV, I think Chappell Roan is probably the most obvious recent red carpet influence, but Zendaya also wore a Joan of Arc look at the Met Gala in 2018, and I recall quite a few other looks over the years with strong Medieval flavor. So I really feel that this has been a long time coming, a bit of a slow burn, and personally I’m thrilled it’s happening in my lifetime

E: Are there any historical garments that you would like to see interpreted into this modern look?

S: You know, I’m a huge fan of partlets, which are a neckline-filling (or covering) accessory, sort of like a stylized dickie. I think they’re a no-brainer to add into modern fashion. You could throw them under dresses, or over turtlenecks…they would just be a good layering piece.

Headwear is also something I would love to see in modern fashion but it would be more challenging. Filmmakers have notorious beef with hats, hoods, and headpieces, partially for continuity and audio, but I suspect mainly because the wearing of hats has become so unusual in society since the 1960s that it makes characters, especially female characters, “less relatable” or godforbid, “less sexy”. If someone out there could find a way to make medieval headwear sexy, that would be a true revolution. I would love to see some form of hennins, caps/coifs, and hoods become popular, and I definitely have seen some people wearing kokoshnik style headbands and snoods, which is a great baby step.

E: This isn’t the first time that a fashion trend has drawn inspiration from the medieval or renaissance eras: models and muses for Pre-Raphaelite artists in the mid-19th century took from renaissance dress, the late 1960s and early 1970s had a strong Medieval Revival, goths have been drawn to medieval aesthetics since the 1980s, the list goes on! Do you particularly like or dislike any of these interpretations of historical dress?

S: I love the Pre-Raphaelites (I think everyone does), but I am truly very fond of the Medieval Revival of the 60s-70s.

E: Have you seen any of these past revival trends impact the way that historical costumes are designed?

S: I think every production with historical costuming owes a little of its own aesthetic to the time in which it is produced and revivals tend to owe a little something to the films and media of their times. The influence of the Pre-Raphaelites is huge, and the Ellen Terry gown is a good example of a symbiotic relationship between an art movement and theatrical costume. The costume was even painted afterwards by John Singer Sargent, which is another fun layer. “Camelot” (1967) is a good example of the synthesis of contemporary trends with a “period” setting, resulting in a cornerstone piece of media for a revival.

I do also think that production companies are incredibly aware of the potential for film costuming to influence fashion and sometimes allow this knowledge to influence the production design (for better or worse). Designing character looks that can be emulated or translated into everyday fashion or recreated quite literally for cosplay is definitely a factor when making movies and TV, thanks to our old buddy capitalism. Maybe one day compensation and appropriate royalties for costume designers will catch up to the ravenous consumption and demand for their work. 

Get Ready for Weirdieval Girl Fall

by KAITLIN OWENS

By now, we’ve all seen those incredible Chappell Roan looks styled by Genesis Webb for her VMA’s performance. The Zana Bayne suit of armor, the sheer Y/Project dress enveloped by that lush, vintage velvet cape from Palace Costumes, the long braided hair, the Juan Alvear stiletto sword nails… the perfect Weirdieval fantasy.

Now what exactly is “Weirdieval”  you ask? Well, it’s actually been around for quite some time. The trend itself builds off of the Medieval Revival of the 1960s and 70s. Think: technicolor tights and puff sleeve silhouettes, linen dresses and tiny vests, Heart’s “Little Queen” album cover… you get the idea. This time around, our Medieval revival has a little bit more of a sexy Dracula flavor — and it’s resurgence can be found in niche fashion circles as early as 2021 with Mina Le’s chainmail coif obsession, Balenciaga’s AW21 Chevalier Boots, and the rise of the now ubiquitous Australian outfitter, Catholic Guilt.

In 2022, Natalie Michie wrote for Fashion Magazine that “reimagined chainmail is the next Regencycore trend”. She explained “...Chainmail fashion is a natural progression of 2021's Regencycore trend that popularized pieces like corsets, pearls and formal gloves.” So, the collective Medieval fascination didn’t just come out of nowhere. It’s a product of developing trend cycles. Our obsession with Bridgerton became an obsession with frilly historical fashion which, because fashion always cycles between light and dark colors, became a touch more Medieval as the pendulum swung towards a darker sensibility.

But how exactly are these looks styled? It’s one thing to pin Kirsty Hume’s wedding photos on Pinterest over and over again — but a different thing entirely to bring it out into the real world. Fashion Writer, Alexandra Hildreth did a breakdown of the aesthetic on Tiktok. In the video, she explained that “...A lot of it is archive fashion (particularly brands like Prada, Issey and Ann Demeulemeester) and current subversive basics (specifically brands like Otto Linger, Y Project and Vacquera). But if you look at niche fashion girls’ mood boards on the ‘Weirdieval Aesthetic’ it’s very much honing in items that you could dislocate from modern current style and find within a Medieval context.”

Basically: “Shop Your Closet” (music to my ears by the way). Take a piece from your existing wardrobe and reimagine it in a different context. That linen maxi dress from last Fall? Maybe pair it with some tapestry-inspired knitwear? Wear your hair in long, loose tendrils. Tie a curtain tassel around your waist. Get creative! I bet you’ll find that these trends are a lot closer to your own clothes than you think!

You’ve seen Cher’s moody-Gothic homewares catalogue from, right?

I’ve compiled some weirdieval inspo:

Some ladies in armor:

And, finally, need someone to buy these Merlin and Morgan dolls: