Episode 1: Renaissance Reenacters as Theater Costume

The Renaissance faire costumes hold a unique place in the realm of costume communities. While the Ren Faire can be categorized as reenactors, their rules and visions is distinctly different from many groups of this type. For many reenactors, the authenticity of the uniforms and clothes is of primary value. The era which the characters are drawn from provides a wealth of important details to those making the clothing. They often find original pieces and replicate the garments or the style of the garment in minute detail. The attention to detail spans from the type of stitching, the thread count of the fabric, types of buttons and more. Attention is paid to how the garments are worn and attitudes held while in the garments. 

The Renaissance Faire reenactors have a different spin on the use of historical inspiration. The people we interviewed saw the historical period, which in this case was 1574, as a major source of inspiration, but the authenticity often was traded for a theatrical point of view. 

Anchoring the community in a specific period provides a broad spectrum for individuals to choose and develop their character. The range of possibilities run from royalty, the court, towns people and more. Not only does it give a range of clothing options to choose from, but actual historical people to reinterpret through performance and dress. It gives not only a scope, but also a depth that can be felt through the diversity of the experience.

Where the Ren-Faire performers differ is their view of authenticity. From their perspective, the theatrical element can override the need for authenticity. For instance, in 1574 cotton was the most expensive and rare fiber content for clothe. Because of this the royalty would often be seen in this type of fabric while the lower classes would wear varieties of flax and woolen material. Today, cotton fibers read as common and even cheap because of its widespread availability. In response to this, Alyssa, the costume director, would use satin type materials for garments appropriate for a higher class character. How the audience reads the characters is significant for the experience. This perspective is clearly more in kind with a theater style costuming way of thinking. 

Adam, a performer and director of street performers designed his own garments. He, like many others hand made several specific pieces. His hat was of particular notice since he had obviously put long hours into its development. When he was describing it to us, he noted that the hat was in the style which his character would have worn, but that he exaggerated its height to give it a dramatic flare. These types of examples were a common thread and provides an important insight into the practices and values of the Renaissance Faire costume design.

*NOTE: one common element we have noted is that individuals in costume communities prefer the term garment, uniform or dress while costume is often considered insult. However, this is not always the case. Alyssa’s position is the “costume director.”