The stories behind Game of Thrones’ costumes

Game of Thrones, which is back for its seventh season, provides horror, fantasy, and intrigue. It also Sa, rah Mower has said, is a shining spotlight over “our cynical, sophisticated, brutal, hopeless new Dark Ages.” It’s also to follow as an expert in fashion regardless of whether you’re a “pedant” who needs everything to be historical or a “swooner” who doesn’t mind the fact that it’s not.

The show is famous for its ability to surprise viewers violently. The intense, sensory, and visceral intensity could mean that the stunning quality of the costumes and, in particular, the exquisite embroidery of Michele Carragher can be missed by viewers.

It could be a fantasy, but when we take the time to pay attention, it is possible to see a myriad of historical influences, ranging from medieval northern Europe to the 1960s Balenciaga. Designer Michele Clapton’s assertion she believes that “we were never bound by the rules of any particular time period” is definitely valid. The influences are scattered and frequently not in sync, making the finding of them even more intriguing.

The extent to which a particular influence influenced a specific design or it wasn’t will, in many ways, not be important. Like literary analysis, TV dramas are a form of art that is subject to interpretation.

Sansa Stark’s wedding gown from the second time

The events surrounding Sansa Stark’s second marriage to Ramsay Bolton in season five are traumatic and dark. The husband is a psychopath, and her fear when she approaches him is evident. The dress is laced with recollections of her previous family and life, but it also has surprising influences.

For me, I find the sculptural sleeves of the bodice, which is a molded part of the dress’s body (which was designed to look similar to the statues found in the crypt of Winterfell, which was her place of birth), remind me of cape coats worn in the 1960s, with their fluid bodies with a high neck.

A good example is a 1963 style by Balenciaga from 1963. French brand Balenciaga features an upper-body shape. Sansa’s undersleeves match the 19th-century “bishop” style – a light sleeve that is full to the wrists, where it’s gathered into an elongated Cuff. It was seen from about 1810 to the beginning of decades into the twentieth century. The dress of Sansa offers the appearance of softer edges to a very strong and encased style.

Cersei’s wedding attire

Cersei Lannister’s outfit during the wedding ceremony of her child King Joffrey in season 4 embodies many elements of the classics of “fantasy” costume: long flowing sleeves and emblematic embroidery, as well as a skirt that is trained. These are the elements that often fall into the pseudo-medieval umbrella, and in fact, this period was in the sights of Clapton when he designed the costumes.

The dress is also reminiscent of the regal dress of Queen Elizabeth I during the 16th century. The image of Elizabeth I as a princess dating from 1546 is a stunning illustration of the Tudor silhouette. It has A low, almost off-the-shoulder neckline, a slim and long body, large sleeves with gold trim and embellishments, and a dazzling color scheme.

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