Game of Thrones, which returns today for its seventh season, offers fantasy, horror and intrigue, and, as Sarah Mower has put it, shines a light on “our cynical, sophisticated, brutal, hopeless new Dark Ages”. It is also great fun to watch as a fashion expert, whether you are a “pedant” who needs everything to be historically correct, or a “swooner” who doesn’t mind if it is not.
The show is infamous for its ability to brutally shock audiences. Such visceral, sensorial overload can mean that the breathtaking beauty of the costumes — and especially Michele Carragher’s stunning embroidery – is sometimes lost on viewers.
It may be fantasy, but, if we take the time to look closely, we can see myriad historical influences, from medieval northern Europe to 1960s Balenciaga. Designer Michele Clapton’s claim that “we were never bound by the rules of any particular time period” is certainly true. The influences are scattered and often not consistent, which makes the discovery of them all the more piquant.
Whether a particular influence was the designer’s intention or not is, in many respects, unimportant. As with literary analysis, television dramas are an art form open to interpretation.
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