Rewriting the Westeros Wardrobe: Behind the Scenes of Game of Thrones Costumes

Get ready to dive back into the fantastical world of Westeros, this time through the lens of one of its most critical elements: the costumes. HBO's Game of Thrones didn't just tell an epic story; it created an entire visually-immersive universe, and the clothing worn by its characters was key to that success.

While many hands contributed to the show's massive costuming efforts, one name stands above the rest: Michele Clapton. As the primary, award-winning costume designer for seasons 1 through 5, and then returning for seasons 7 and 8, Clapton's vision shaped the aesthetic of Game of Thrones and brought George R. R. Martin's world to vibrant life..

Costuming as Storytelling

 

In Game of Thrones, costumes were never just outfits; they were a language. They communicated power, allegiance, heritage, and the brutal reality of life in a constant state of conflict. Each piece was meticulously crafted to reflect the character wearing it, the region they hailed from, and their current station in the ever-shifting political landscape.

 The Power of Color: From the stark, cold blacks and greys of the Night's Watch to the opulent, lion-embossed golds and crimsons of the Lannisters, color was a primary identifier. Each major house had its palette, instantly signaling loyalty to the viewer. Daenerys Targaryen's wardrobe evolved as she gained power, moving from simple, fluid fabrics in the Dothraki sea to structured, metallic ensembles in Slaver's Bay, reflecting her growth into a true queen.

 Regional Differences: Clapton and her team excelled at creating distinct styles for different geographic areas. The thick furs and layers of the North contrasted sharply with the light silks and open necklines of King's Landing. The sun-drenched, sandy tones of Dorne offered a different kind of practical elegance, while the ironborn favored rugged leather and rugged, sea-worn fabrics.

Detailing that Defined: It was the attention to minute detail that truly elevated the Game of Thrones costumes. Embroidery wasn't just decorative; it often featured house sigils, secret symbols, or stories. Think of the hidden lions woven into Cersei's seemingly elegant dresses, signaling her deep Lannister pride. Armor wasn't just functional; it was a work of art, featuring house sigils (like the stag of House Baratheon) and showing signs of wear and tear, adding to the show's gritty realism.

A Visual Evolution Across Seasons

As the story progressed and characters changed, so did their attire. Sansa Stark's journey is a prime example. Her initial simple dresses reflect her innocence. In King's Landing, her clothing becomes a cage, mirroring her loss of freedom. Later, in the North, she adopts a more practical and powerful look, incorporating wolf furs and dark fabrics, signaling her strength and reclaimed power.

Similarly, Daenerys's wardrobe reflected her journey from a displaced princess to a powerful ruler. Her evolving looks mirrored her growing confidence and the diverse cultures she encountered and led.

The Legacy of Westerosi Style

The costumes of Game of Thrones remain an iconic part of the show's enduring popularity. Michele Clapton and her team created a visually stunning and narrative-rich wardrobe that not only looked fantastic but also played a crucial role in bringing the story to life.

These costumes weren't merely functional attire; they were a vital part of the world-building, offering depth, character insight, and a visual language that helped make Game of Thrones the cultural phenomenon it became. They are a testament to the power of design to enhance storytelling and create a truly immersive viewer experience. Even years after the show's conclusion, these looks continue to inspire fans and serve as a reminder of the artistic ambition and dedication behind one of television's most celebrated fantasy epics.

The lost souls inside the Insane Asylums

According to New Orleans City Insane Asylum Record of Patients (1882-1888), the types of insanity below were the more common and the cause for many people to end up in an asylum.

Most of them, never had a chance to get out of places like this, most of them died, whether from old age or from getting ill as a result of poor care received by the staff and poor hygiene of the place. There were even homosexual and physically ill people (dumb, blind, mentally retarded) Many of the sick were abandoned to their fate and agonized until its end.

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Famous Movie Costumes ( by Frederico Birchal )

The circus and Sideshow performers we don't talk about

A freak show is an exhibition of biological rarities, referred to as "freaks of nature". Typical features would be physically unusual humans, such as those uncommonly large or small, those with both male and female secondary sexual characteristics, people with other extraordinary diseases and conditions, and performances that are expected to be shocking to the viewers. Heavily tattooed or pierced people have sometimes been seen in freak shows, as have attention-getting physical performers such as fire-eating and sword-swallowing acts.

In 1851 the development of the "set-plate" technique enabled photographers to make many prints from one exposure. Human oddities would have carefully posed photos taken and often order thousands of reproductions. They would sometimes write about themselves on the back of the card bragging about their physical attributes or talents. These "carte de visites" were widely collected by Americans and made quite a bit of money for the "freaks" and the owners of freak shows.

Freaks were often perceived as apprehensive, docile and unhappy with their lot in life. In many cases during the Victorian era, nothing could be further from the truth. Many defended themselves against their managers, talking back and demanding raises. As early as 1851, it had become popular to sell trading cards of popular freaks throughout England and the US. Profits from these images went straight into the pockets of the performers themselves, as opposed to the showmen. 

Isaac W. Sprague, the American Human Skeleton, had one of the most successful trading cards. At 5’6”, Sprague weighed only 43 pounds. As he toured with Barnum in the 1860s, he made a good sum of money off of the sale returns from the card. Some of the more willing performers, like Sprague, even penned their own biographies to be published in freak show pamphlets.

http://www.disabilityhistory.org/