How to Give Yourself a 3000-Year-Old Hairstyle Using Iron Age Tools

There was a peri­od in the late 20th-cen­tu­ry when hav­ing hair long enough to sit on was con­sid­ered some­thing of an accom­plish­ment.

Judg­ing by the long hair pins unearthed from Austria’s Hall­statt bur­ial site, extreme length was an ear­ly Iron Age hair goal, too, pos­si­bly because a coro­net of thick braids made it eas­i­er to bal­ance a bas­ket on your head or keep your veil secure­ly fas­tened.

Mor­gan Don­ner, whose YouTube chan­nel doc­u­ments her attempts to recre­ate his­tor­i­cal gar­ments and hair­styles, com­mit­ted to try­ing var­i­ous Hall­statt looks after read­ing arche­ol­o­gogist Kari­na Grömer’s 2005 arti­cle Exper­i­mente zur Haar- und Schleier­tra­cht in der Hall­stattzeit (Exper­i­ments on hair­styles and veils in the Hall­statt peri­od.)

Gromer, the vice-head of the Vien­na Nat­ur­al His­to­ry Muse­um’s Depart­ment of Pre­his­to­ry, pub­lished pre­cise dia­grams show­ing the posi­tion of the hair orna­ments in rela­tion to the occu­pants of var­i­ous graves.

For exam­ple, the skele­ton in grave 45, below, was dis­cov­ered with “10 bronze nee­dles to the left of and below the skull, (and) parts of a bronze spi­ral roll in the neck area.”

Although no hair fibers sur­vive, researchers cross-ref­er­enc­ing the pins’ posi­tion against fig­ur­al rep­re­sen­ta­tions from peri­od arti­facts, have made a pret­ty edu­cat­ed guess as to the sort of hair do this indi­vid­ual may have sport­ed in life, or more accu­rate­ly, giv­en the con­text, death.

As to the “bronze spi­ral roll” — which Don­ner per­sists in refer­ring to as a spi­ral “doobly doo” — it func­tioned much like a mod­ern day elas­tic band, pre­vent­ing the braid from unrav­el­ling.

Don­ner twists hers from wire, after arrang­ing to have repli­ca hair­pins cus­tom made to his­tor­i­cal­ly accu­rate dimen­sions. (The man­u­fac­tur­er, per­haps mis­un­der­stand­ing her inter­est in his­to­ry, coat­ed them with an antiquing agent that had to be removed with “brass clean­er and a bit of rub­bing.”

Most of the styles are vari­ants on a bun. All with­stand the “shake test” and would look right at home in a bridal mag­a­zine.

Star Wars fans will be grat­i­fied to find not one, but two icon­ic Princess Leia looks.

Our favorites were the braid­ed loops and dou­ble buns meant to be sport­ed beneath a veil.

“The braids do kind of act nice­ly as an anchor point for the veil to sit on,” Don­ner reports, “Not a lot of mod­ern appli­ca­tion per se for this par­tic­u­lar style but it’s cute. It’s fun.”

Either would give you some seri­ous Medieval Fes­ti­val street cred, even if you have to resort to exten­sions.

Donner’s video gets a lot of love in the com­ments from a num­ber of archae­ol­o­gy pro­fes­sion­als, includ­ing a funer­ary archae­ol­o­gist who prais­es the way she deals with the “inher­ent issues of preser­va­tion bias.”

The final nine min­utes con­tain a DIY tuto­r­i­al for those who’d like to make their own hair­pins, as well as the spi­ral “doobly doo”.

If you’re of a less crafty bent, a jew­el­ry design­er in Fin­land is sell­ing repli­cas based on the grave finds of Hall­statt cul­ture on Etsy.

Watch a playlist of Donner’s his­tor­i­cal hair exper­i­ments and tuto­ri­als, though a peek at her Insta­gram reveals that she got a buz­z­cut last fall, cur­rent­ly grown out to pix­ie-ish length.

Down­load Grömer’s illus­trat­ed arti­cle on Hall­statt peri­od hair­styles and veils for free (in Ger­man) here.

- Ayun Hal­l­i­day is the Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine and author, most recent­ly, of Cre­ative, Not Famous: The Small Pota­to Man­i­festo.  Fol­low her @AyunHalliday.

How Fashionable Dutch Women (Like the Girl with a Pearl Earring) Got Dressed in 1665

Remem­ber how it felt to be bun­dled into tights, socks, jeans, a thick sweater, a snow­suit, mit­tens, only to real­ize that you real­ly need­ed to pee?

Back in 1665, the Lit­tle Ice Age com­pelled the well-to-do ladies of Delft to turn them­selves out with a sim­i­lar eye toward keep­ing warm, but their ensem­bles had a dis­tinct advan­tage over the Christ­mas Sto­ry snow­suit approach.

Reliev­ing them­selves was as easy as hik­ing their skirts, pet­ti­coats, and volu­mi­nous, lace-trimmed chemise. No flies for freez­ing fin­gers to fum­ble with. In fact, no draw­ers at all.

His­tor­i­cal cos­tumer Pauline Loven, a cre­ator of the Get­ting Dressed In… series, builds this elite out­fit from the inner­most lay­er out, above, not­ing that cloth­ing was an avenue for well-to-do cit­i­zens to flaunt their wealth:

  • A long, full, Linen or silk chemise trimmed with lace at the cuff
  • A waist-tied hip pad to bol­ster sev­er­al lay­ers of cozy, lined pet­ti­coats
  • An ele­gant silk gown com­prised of sev­er­al com­po­nents:
    • A flat front­ed skirt tucked into pleats at the sides and back
    • A laced up bodice stiff­ened with whale bone stays
    • Detach­able sleeves
    • A stom­ach­er for front-laced bodices
  • A loose fit­ting, fur-trimmed vel­vet or silk jack­et
  • Silk or woolen thigh-high stock­ings gartered below the knee (cre­at­ed for the episode by her­itage edu­ca­tor, and knitwear design­er Sal­ly Point­er)
  • A linen or silk ker­chief pinned or tied at the breast
  • Square-toed leather shoes with a curved heel (cre­at­ed for the episode by Kevin Gar­lick, who spe­cial­izes in hand­made shoes for re-enac­tors.)

Fash­ion­able acces­sories might include a foot warm­ing, char­coal pow­ered voeten stoof and under­stat­ed jew­el­ry, like the pearls Johannes Ver­meer paint­ed to such lumi­nous effect.

If that doesn’t tip you off to the direc­tion this his­toric recre­ation is head­ed, allow us to note that the atten­dant, who’s far from the focus of this episode, is garbed so as to sug­gest The Milk­maid by a cer­tain Dutch Baroque Peri­od painter who spe­cial­ized in domes­tic inte­ri­or scenes…and whose ini­tials are J.V.

The fin­ish­ing touch is a tur­ban of yel­low silk taffe­ta and blue silk dupi­on, an exot­ic ele­ment that may pro­duce a sense of deja vu in art lovers … and any­one who rel­ish­es a good art-based recre­ation chal­lenge.

View more of Pauline Loven’s work and Get­ting Dressed In… episodes focused on oth­er peri­ods at Crow’s Eye Pro­duc­tions’ YouTube chan­nel.

Relat­ed Con­tent:

How Women Got Dressed in the 14th & 18th Cen­turies: Watch the Very Painstak­ing Process Get Cin­e­mat­i­cal­ly Recre­at­ed

A Pre-Pan­tone Guide to Col­ors: Dutch Book From 1692 Doc­u­ments Every Col­or Under the Sun

Ghosts of His­to­ry: Dutch Artist Eeri­ly Super­im­pos­es Mod­ern Street Scenes on World War II Pho­tos

Street Art for Book Lovers: Dutch Artists Paint Mas­sive Book­case Mur­al on the Side of a Build­ing

Ayun Hal­l­i­day is an author, the­ater­mak­er, and the Chief Pri­maol­o­gist of the East Vil­lage Inky zine. Her lat­est book, Cre­ative, Not Famous: The Small Pota­to Man­i­festo, will be pub­lished in ear­ly 2022.  Fol­low her @AyunHalliday.

500 Years of Haircuts: One Youtuber Tries Out the Hair Styles That Were Fashionable Between 1500 and 2000

“In Mankiewicz’s Julius Cae­sar, all the char­ac­ters are wear­ing fringes,” writes Roland Barthes in his well-known essay on Romans in film. “Some have them curly, some strag­gly, some tuft­ed, some oily, all have them well combed.” This fringe, Barthes argues, is “quite sim­ply the label of Roman-ness”: when it comes onscreen, “no one can doubt that he is in Ancient Rome.” Ever since cin­e­ma first told his­tor­i­cal tales, hair has been among its most effec­tive visu­al short­hands with which to estab­lish an era. This is in part due to hair­styles them­selves hav­ing var­ied since the begin­ning of record­ed his­to­ry, and — in one form or anoth­er — no doubt before it as well. But how many of them could we pull off today?

In the video above, Youtu­ber Mor­gan Don­ner address­es that ques­tion as direct­ly as pos­si­ble: by try­ing out half a mil­len­ni­um’s worth of hair­styles her­self. As a woman, she’s been pro­vid­ed much more to work with by fash­ion his­to­ry (to say noth­ing of biol­o­gy) than have the suc­ces­sors of all those fringed Roman men. She begins in 1520, a peri­od whose art reveals “a fair­ly con­sis­tent cen­ter-part kind of smooth look going on” with braids behind, all easy replic­a­ble. 110 years lat­er “things get actu­al­ly quite inter­est­ing,” since fash­ions begin to encom­pass not just hair­styles but hair­cuts, prop­er­ly speak­ing, requir­ing dif­fer­ent sec­tions of hair to be dif­fer­ent lengths — and requir­ing Don­ner to whip out her scis­sors.

About a cen­tu­ry lat­er, Don­ner takes note of a pat­tern where­by “styles get big­ger and big­ger and big­ger, and then — foof — they deflate.” Such, it seems, has become the gen­er­al ten­den­cy of not just cul­ture but many oth­er human pur­suits as well: the grad­ual infla­tion of a bub­ble of extrem­i­ty, fol­lowed by its sud­den burst­ing. It’s in the 18th cen­tu­ry that Don­ner’s project turns more com­plex, begin­ning to involve such things as lard, pow­der, and hair cush­ions. But she gets a bit of a respite when the 1800s come along, and “it’s almost like every­one col­lec­tive­ly decid­ed that they were tired of it, and you know what? Messy bun. That’s good enough.” Yet in hair as in all things, human­i­ty nev­er keeps it sim­ple for long.

View­ers of film and tele­vi­sion his­tor­i­cal dra­mas (which them­selves have been boom­ing for some time now) will rec­og­nize more than a few of the hair­styles Don­ner gives her­self through­out this video. But the deep­er she gets into the 20th cen­tu­ry, the more of them remain in liv­ing mem­o­ry. Take the 1940s’ shoul­der-length curls with pinned-back lay­ers on top, which many of us will rec­og­nize from pic­tures of our grand­moth­ers. That par­tic­u­lar hair­style does­n’t seem to have been revived since, but from the 1960s on, Don­ner works through a series of looks that have pro­vid­ed no lit­tle inspi­ra­tion to our retro­ma­ni­ac 21st cen­tu­ry. At the end of her his­tor­i­cal-ton­so­r­i­al jour­ney, she fires up the clip­pers and buzzes her­self com­plete­ly — thus begin­ning hair Year Zero.

Relat­ed Con­tent:

Get the Ancient Roman Look: A Hair & Make­up Video Tuto­r­i­al

How a Bal­ti­more Hair­dress­er Became a World-Renowned “Hair Archae­ol­o­gist” of Ancient Rome

How Women Got Dressed in the 14th & 18th Cen­turies: Watch the Very Painstak­ing Process Get Cin­e­mat­i­cal­ly Recre­at­ed

Where Did the Monk’s Hair­cut Come From? A Look at the Rich and Con­tentious His­to­ry of the Ton­sure

50 Years of Chang­ing David Bowie Hair Styles in One Ani­mat­ed GIF

Google Cre­ates a Dig­i­tal Archive of World Fash­ion: Fea­tures 30,000 Images, Cov­er­ing 3,000 Years of Fash­ion His­to­ry

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Punks, Goths, and Mods on TV (1983)

The Riv­et­head pre­oc­cu­pa­tion with fash­ion is inescapably relat­ed to their anx­i­ety over being con­fused for sub­cul­tures they pro­fess to hate: Goths, Punks, Met­al­heads, Death Rock­ers… The fact that so many sub­cul­tures claim black as their col­or of choice con­tributes to the con­fu­sion.

There are two points upon which the­o­rists of post-indus­tri­al British sub­cul­tures gen­er­al­ly agree: 1) No mat­ter the music or the fash­ion, the bound­aries between one sub­cul­ture and anoth­er were rig­or­ous­ly, even vio­lent­ly, enforced (hence the wars between the mods and rock­ers), and; 2) The music and fash­ions of every sub­cul­ture were sub­ject to coop­ta­tion by the machin­ery of cap­i­tal­ism, to be mass pro­duced, pack­aged, and sold as off-the-rack com­mod­i­ty, a phe­nom­e­non that occurred almost as soon as punks, mods, rock­ers, goths, ted­dy boys, skin­heads, New Roman­tics, etc. began appear­ing on tele­vi­sion — as in the post-Grundy Irish TV appear­ance of four young indi­vid­u­als above from 1983.

The inter­view­er intro­duces these punks, goths, and mods by refer­ring first to their employ­ment — or lack of employ­ment — sta­tus, and then to the num­ber of chil­dren in their fam­i­ly. Com­ments drip­ping with class dis­dain sit along­side a char­ac­ter­i­za­tion of var­i­ous sub­cul­tures as “gangs” — the Hell’s Angels thrown in among them just to dri­ve the point home. Of course, there’s more to say about the denizens of ear­ly-80s UK sub­cul­tur­al street cor­ners — more than these four rep­re­sen­ta­tives have to say them­selves. It is com­mu­ni­cat­ed through per­for­mance rather than ver­bal expo­si­tion, through the affil­i­a­tions of cloth­ing, music, and pose — as in the mini-his­tor­i­cal slideshow of late-20th cen­tu­ry British sub­cul­tures below, from the 50s to the 80s.

In 1979, British the­o­rist Dick Heb­di­ge pub­lished what many con­sid­ered the defin­i­tive analy­sis of these work­ing-class scenes, which fre­quent­ly cen­tered around forms of racial and cul­tur­al exchange — as with mods who loved jazz or punks who loved ska and dub reg­gae; or racial and cul­tur­al exclu­sion — as with fas­cist skin­heads and chau­vin­ist ted­dy boys who glo­ri­fied the past, while oth­er sub­cul­tur­al ide­olo­gies looked to the future (or, as the case may be, no future).

Hebdige’s Sub­cul­ture: the Mean­ing of Style begins with a sto­ry about French writer Jean Genet, humil­i­at­ed in prison by homo­pho­bic guards over his pos­ses­sion of a tube of Vase­line:

Like Genet, we are inter­est­ed in sub­cul­ture – in the expres­sive forms and rit­u­als of those sub­or­di­nate groups – the ted­dy boys and mods and rock­ers, the skin­heads and the punks – who are alter­nate­ly dis­missed, denounced and can­on­ized; treat­ed at dif­fer­ent times as threats to pub­lic order and as harm­less buf­foons.

The irony of sub­cul­tures is that they iden­ti­fy with social out­siders, while re-enforc­ing bound­aries that cre­ate exclu­siv­i­ty (cf. the quote at the top, from Heb­di­ge-inspired Sub­cul­tures List). When the nov­el­ty and shock recedes, they become ripe fod­der for com­mer­cial coop­ta­tion, even lux­u­ry brand­ing.

What we usu­al­ly don’t get from tame ret­ro­spec­tives, or from patron­iz­ing mass media of the time, are deviant out­siders like Genet who can­not be reab­sorbed into the sys­tem because their very exis­tence pos­es a threat to the social order as so con­strued. So much of the fash­ion and music of post-war Britain was direct­ly cre­at­ed or inspired by West Indi­an migrants of the Win­drush gen­er­a­tion, for exam­ple. In too many pop­u­lar rep­re­sen­ta­tions of post­war British sub­cul­tures, that essen­tial part of the work­ing class UK sub­cul­ture sto­ry has been entire­ly left out.

Relat­ed Con­tent: 

A His­to­ry of Punk from 1976–78: A Free Online Course from the Uni­ver­si­ty of Read­ing

The Sex Pis­tols Make a Scan­dalous Appear­ance on the Bill Grundy Show & Intro­duce Punk Rock to the Star­tled Mass­es (1976)

The His­to­ry of Punk Rock in 300 Tracks: A 13-Hour Playlist Takes You From 1965 to Present

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Elegant 2,000-Year-Old Roman Shoe Found in a Well

When the Romans pushed their way north into the Ger­man provinces, they built (cir­ca 90 AD) The Saal­burg, a fort that pro­tect­ed the bound­ary between the Roman Empire and the Ger­man­ic trib­al ter­ri­to­ries. At its peak, 2,000 peo­ple lived in the fort and the attached vil­lage. It remained active until around 260 AD.

Some­where dur­ing the 19th cen­tu­ry, The Saal­burg was redis­cov­ered and exca­vat­ed, then lat­er ful­ly recon­struct­ed. It’s now a UNESCO World Her­itage site and hous­es the Saal­burg Muse­um, which con­tains many Roman relics, includ­ing a 2,000 year old shoe, appar­ent­ly found in a local well.

If you think the Ital­ians have mas­tered the craft of mak­ing shoes, well, they don’t have much on their ances­tors. Accord­ing to the site Romans Across Europe, the Romans  “were the orig­i­na­tors of the entire-foot-encas­ing shoe.” The site con­tin­ues:

There was a wide vari­ety of shoes and san­dals for men and women. Most were con­struct­ed like mil­i­tary cali­gae, with a one-piece upper nailed between lay­ers of the sole. Many had large open-work areas made by cut­ting or punch­ing cir­cles, tri­an­gles, squares, ovals, etc. in rows or grid-like pat­terns. Oth­ers were more enclosed, hav­ing only holes for the laces. Some very dain­ty women’s and children’s shoes still had thick nailed soles.

The image above, which puts all of the Roman’s shoe-mak­ing skill on dis­play, comes to us via Red­dit and imgur.

Note: An ear­li­er ver­sion of this post appeared on our site in July 2016.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

The Ancient Romans First Com­mit­ted the Sar­to­r­i­al Crime of Wear­ing Socks with San­dals, Archae­o­log­i­cal Evi­dence Sug­gests

A Huge Scale Mod­el Show­ing Ancient Rome at Its Archi­tec­tur­al Peak (Built Between 1933 and 1937)

A Map Show­ing How the Ancient Romans Envi­sioned the World in 40 AD

Rome Reborn: Take a Vir­tu­al Tour of Ancient Rome, Cir­ca 320 C.E.

Free Cours­es in Ancient His­to­ry, Lit­er­a­ture & Phi­los­o­phy

Watch the Destruc­tion of Pom­peii by Mount Vesu­vius, Re-Cre­at­ed with Com­put­er Ani­ma­tion (79 AD)

The His­to­ry of Rome in 179 Pod­casts

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Ai Weiwei Creates Hand-Silkscreened Scarves Drawing on a Chinese Paper Cutting Tradition

FYI: Ai Wei­wei has cre­at­ed hand­wo­ven and hand-silkscreened scarves that aes­thet­i­cal­ly draw on a 2,000-year-old Chi­nese paper cut­ting tra­di­tion. “The col­ored, intri­cate­ly cut papers are used as a sto­ry-telling medi­um in fes­tiv­i­ties, for prayers, and as every­day dec­o­ra­tion.” The scarves are 100% silk. You can find ver­sions in blue, red and black. (Here’s Ai Wei­wei sport­ing one in red.) Or find them all here on Taschen’s web site.

Note: Taschen is a part­ner of ours. So if you pur­chase a scarf, it helps sup­port Open Cul­ture.

Relat­ed Con­tent:

Who’s Afraid of Ai Wei­wei: A Short Doc­u­men­tary

Artist Ai Wei­wei Gives the Fin­ger to Sym­bols of Author­i­ty Around the World

Free: Down­load 70,000+ High-Res­o­lu­tion Images of Chi­nese Art from Taipei’s Nation­al Palace Muse­um

A Side Splitting Medieval TikTok Account: Get a Laugh at Medieval Yoga Poses & Much More

@greedypeasant🧘‍♀️ Medieval Yoga 🧘 #medievaltik­tok #yoga #yogalover #peace­with­in #fyp #fory­ou #fory­oupage♬ orig­i­nal sound — Tyler Gun­ther

Tik­Tok, the short-form video-shar­ing plat­form, is an are­na where the young dom­i­nate — last sum­mer, The New York Times report­ed that over a third of its 49 mil­lion dai­ly users in the US were aged 14 or younger.

Yet some­how, a ful­ly grown medieval peas­ant has become one of its most com­pelling pres­ences, breezi­ly shar­ing his yoga reg­i­men, above, his obses­sion with tas­sels and ornate sleeves, and the Met­ro­pol­i­tan Tran­sit Authority’s plans to upcy­cle his era’s tor­ture devices as New York City sub­way exit gates.

30-year-old Brook­lyn-based artist Tyler Gun­ther views his cre­ation, Greedy Peas­ant, as “the man­i­fes­ta­tion of all the strange medieval art we now enjoy in meme form”:

Often times medieval his­to­ry focus­es on roy­als, wars, popes and plagues. With this peas­ant guide, we get to expe­ri­ence the world through the lens of a queer artist who is just try­ing to make sure every­one is on time for their cos­tume fit­tings for the East­er pageant. 

Ear­li­er, Gunther’s medieval fix­a­tion found an out­let in comics that he post­ed to Insta­gram.

Then last Feb­ru­ary, he found him­self quar­an­ti­ning in an Aus­tralian hotel room for 2 weeks pri­or to per­form­ing in the Ade­laide Fes­ti­val as part of The Plas­tic Bag Store, artist Robin Fro­hardt’s alter­nate­ly hilar­i­ous and sober­ing immer­sive super­mar­ket instal­la­tion:

My quar­an­tine plans had been to work on a mas­sive set of illus­tra­tions and teach myself the entire Adobe Cre­ative Suite. Instead I just wan­dered from one cor­ner of the hotel room to the next and stared at the office build­ing direct­ly out­side my win­dow. About 4 days in, Robin texted, “Now is your time to make a Tik­Tok.” I had avoid­ed it for so long. I always had an excuse and I was gen­uine­ly con­fused about how the app worked. But with no alter­na­tives left I made a few videos “just to test out some of the fil­ters” and I was instant­ly hooked. 

Now, a green screen and a set of box lights are per­ma­nent­ly installed in his Brook­lyn stu­dio so he can film when­ev­er inspi­ra­tion strikes, pro­vid­ed it’s not too steamy to don the tights, cowls, wigs and woolens that are an inte­gral part of Greedy Peasant’s look.

@greedypeasant🕷🕷🕷 (to be con­tin­ued) #medievaltik­tok #fyp #fory­oupage #fory­ou #spi­der­man♬ orig­i­nal sound — Tyler Gun­ther

One of Gunther’s most eye pop­ping cre­ations came about when Greedy Peas­ant answered an ad post in the town square seek­ing a Spi­der Man (i.e., a man with spi­ders) to com­bat a bug infes­ta­tion:

As a for­mer cos­tume design stu­dent, I’m intrigued by how super­hero uni­forms fit with­in the very con­ser­v­a­tive world of West­ern men’s fash­ion. We’re sup­posed to believe these col­or blocked body­suits are ath­let­ic and high tech. These man­ly men don’t wear them just because they look great in them, they wear them for our pro­tec­tion and the greater good.  But what if one super­hero did val­ue style over sub­stance? Would he still retain his author­i­ta­tive qual­i­ties if his super suit was embroi­dered and bead­ed and drip­ping with tas­sels? This medieval­ist believes so. 

About that tas­sel obses­sion

To me tas­sels rep­re­sent orna­men­ta­tion for ornamentation’s sake at its peak. This dec­o­ra­tive con­cept is so maligned in our cur­rent age. 21st cen­tu­ry design trends are so sleek and smooth, which does make our lives prac­ti­cal and effi­cient. But soon we’ll all be dead. Medieval arti­sans seemed to under­stand this on some lev­el. I think if iPhones were sold in the mid­dle ages they would have 4 tas­sels on each cor­ner. Why? Because it would look very nice. A tas­sel looks beau­ti­ful as a piece of sta­t­ic sculp­ture. It adds an air of author­i­ty and pol­ish to what­ev­er object it is attached to. If that were all they pro­vid­ed us it would be enough. But then sud­den­ly you give your elbow a lit­tle flick and before you know it your sleeve tas­sels are in flight! They are per­form­ing a per­son­al bal­let with their lit­tle strings going wher­ev­er the chore­og­ra­phy may take them. It’s a gift.

@greedypeasant(not) FACTS. ##medievaltik­tok ##nyc ##newyorkc­i­ty ##nychis­to­ry ##fyp ##fory­ou ##fory­oupage♬ orig­i­nal sound — Tyler Gun­ther

Gunther’s keen eye extends to his green screen back­grounds, many of which are drawn from the Met­ro­pol­i­tan Muse­um of Art’s online image col­lec­tion.

He also shoots on loca­tion when the sit­u­a­tion war­rants:

Espe­cial­ly in New York City, where it seems like every neigh­bor­hood has at least one build­ing dressed up to look as if it sur­vived the Black Plague. I love this bla­tant­ly false illu­sion of a hero­ic past. We American’s know it’s a façade. We know the build­ing was built in 1910, not 1410, but some­how it still pleas­es us. Even when I went home to Arkansas to vis­it fam­i­ly, we were con­stant­ly scout­ing film­ing loca­tions which looked con­vinc­ing­ly medieval. Our great­est find were the back rooms and the choir loft of a beau­ti­ful goth­ic revival church in our town.

While Gun­ther is obvi­ous­ly his own star attrac­tion, he alter­nates screen time with a group of “reli­quary ladies,” whose main trio, Brid­getteAman­da and Susan are the queen bees of the side aisle. Even before he used a green screen fil­ter to ani­mate them with his eyes, lips, and a hint of mus­tache, he was drawn to their hair­dos and indi­vid­ual per­son­al­i­ties dur­ing repeat vis­its to the Met Clois­ters.

“As reli­quar­ies, they embody such a spe­cif­ic medieval sen­si­bil­i­ty,” he enthus­es. “Each housed a small body part of a deceased saint, which peo­ple would make a pil­grim­age to see. This com­bi­na­tion of the sacred, macabre and beau­ti­ful includes all my favorite medieval ele­ments.”

@greedypeasantWill the real St. Catherine’s low­er jaw please stand up. ##medievaltik­tok ##his­to­ry­tok ##fyp ##fory­ou ##fory­oupage ##reli­quary ##peas­ant ##arthis­to­ry♬ orig­i­nal sound — Tyler Gun­ther

Get to know Tyler Gunther’s Greedy Peas­ant here.

Relat­ed Con­tent:

160,000 Pages of Glo­ri­ous Medieval Man­u­scripts Dig­i­tized: Vis­it the Bib­lio­the­ca Philadel­phien­sis

A Free Yale Course on Medieval His­to­ry: 700 Years in 22 Lec­tures

Killer Rab­bits in Medieval Man­u­scripts: Why So Many Draw­ings in the Mar­gins Depict Bun­nies Going Bad

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Fol­low her @AyunHalliday.

Who Designed the 1980s Aesthetic?: Meet the Memphis Group, the Designers Who Created the 80s Iconic Look

For those who remem­ber the 1980s, it can feel like they nev­er left, so deeply ingrained have their designs become in the 21st cen­tu­ry. But where did those designs them­selves orig­i­nate? Vibrant, clash­ing col­ors and pat­terns, bub­bly shapes; “the geo­met­ric fig­ures of Art Deco,” writes Sara Barnes at My Mod­ern Met, “the col­or palette of Pop Art, and the 1950s kitsch” that inspired design­ers of all kinds came from a move­ment of artists who called them­selves the Mem­phis Group, after Bob Dylan’s “Stuck Inside of Mobile with the Mem­phis Blues Again,” a song “played on repeat dur­ing their first meet­ing” in a tiny Milan apart­ment. “I think you’d be hard-pressed to think of any oth­er design phe­nom­e­non that can be locat­ed as specif­i­cal­ly to a group of peo­ple,” says Yale Cen­ter of British Art’s Glenn Adam­son in the Vox explain­er above,

Found­ed in Decem­ber 1980 by design­er Ettore Sottsass — known for his red Olivet­ti Valen­tine type­writer — and sev­er­al like-mind­ed col­leagues, the move­ment made a delib­er­ate attempt to dis­rupt the aus­tere, clean lines of the 70s with work they described as “rad­i­cal, fun­ny, and out­ra­geous.” They flaunt­ed what had been con­sid­ered “good taste” with aban­don. Mem­phis design shows Bauhaus influ­ences — though it reject­ed the “strict, straight lines of mod­ernism,” notes Curbed. It taps the anar­chic spir­it of Dada, with­out the edgy, anar­chist pol­i­tics that drove that move­ment. It is main­ly char­ac­ter­ized by its use of lam­i­nate floor­ing mate­ri­als on tables and lamps and the “Bac­te­rio print,” the squig­gle design which Sottsass cre­at­ed in 1978 and which became “Memphis’s trade­mark pat­tern.”

Mem­phis design shared with mod­ernism anoth­er qual­i­ty ear­ly mod­ernists them­selves ful­ly embraced: “Noth­ing was com­mer­cial­ly suc­cess­ful at the time,” says Bar­bara Radice, Sottsass’s wid­ow and Mem­phis group his­to­ri­an. But David Bowie and Karl Lager­field were ear­ly adopters, and the group’s 80s work even­tu­al­ly made them stars. “We came from being nobod­ies,” says design­er Mar­tine Bedin. By 1984, they were cel­e­brat­ed by the city of Mem­phis, Ten­nessee and giv­en the key to the city. “They were wait­ing for us at the air­port with a band,” Bedin remem­bers. “It was com­plete­ly crazy.” The Mem­phis Group had offi­cial­ly changed the world of art, archi­tec­ture, and design. The fol­low­ing year, Sottsass left the group, and it for­mal­ly dis­band­ed in 1987, hav­ing left its mark for decades to come.

By the end of the 80s, Mem­phis’ look had become pop cul­ture wall­pa­per, inform­ing the sets, titles, and fash­ions of TV sta­ples like Saved by the Bell, which debuted in 1989. “Although their designs didn’t end up in people’s homes,” notes Vox — or at least not right away — “they inspired many design­ers work­ing in dif­fer­ent medi­ums.” Find out above how “every­thing from fash­ion to music videos became influ­enced” by the loud, play­ful visu­al vocab­u­lary of the Mem­phis Group artists, and learn more about the design­ers of “David Bowie’s favorite fur­ni­ture” here.

Relat­ed Con­tent: 

Meet the Mem­phis Group, the Bob Dylan-Inspired Design­ers of David Bowie’s Favorite Fur­ni­ture

The Ulti­mate 80s Med­ley: A Nos­tal­gia-Induc­ing Per­for­mance of A‑Ha, Tears for Fears, Depeche Mode, Peter Gabriel, Van Halen & More

Watch Bri­an Eno’s “Video Paint­ings,” Where 1980s TV Tech­nol­o­gy Meets Visu­al Art

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

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