Atelier Lauren Jane

Tag: historical figures

  • Medieval Revival: Featuring Interview With Designer Samantha Pleet 

    Medieval Revival: Featuring Interview With Designer Samantha Pleet 

    The air is thick with the scent of damp stone and burning tallow, the flickering light of candelabras casting long shadows across the marble halls. Somewhere beyond the towering arches, a lute strums a melancholic tune, each note carrying the melody of a forgotten age. And in the hush of nightfall, a figure emerges, draped in velvet so dark it seems to drink in the moonlight. The swish of fabric against the cold floor, the glint of metal filigree catching the firelight—this is not the past, but the present, resurrected in silk and steel.

    The medieval revival sweeping through fashion is no fleeting fancy, no mere dalliance with nostalgia. It is a grand reclamation of magic and romance, a yearning for the beauty of an era when garments bore weight, both in fabric and in meaning. The modern world, weary of its own transience, turns its gaze to an age where craftsmanship reigned, where every embroidery thread spun a tale and every jewel held the weight of centuries.

    Designers, like alchemists of old, have transmuted history into haute couture, conjuring forth gowns that hint at courtly love and adventure. Billowing sleeves catch the wind like the sails of a ship bound for unknown lands. “Stays” (the precursor to corsets), recall the sculpted grace of statues in dimly lit chapels. Chainmail gleams in the candlelight, evoking the silent ardency of knights sworn to their cause. Each piece is an incantation infused in wool and linen. 

    The artistry of the Middle Ages unfurls anew, its gilded details and celestial motifs finding their way onto rich brocades and flowing cloaks. Like the sacred relics enshrined in gothic cathedrals, these garments demand reverence. Pearls drip like dewdrops from delicate veils, while precious stones nestle in as if plucked from the crown of a long-beloved queen. Even the architecture of the time—a symphony of pointed arches and soaring spires—finds its place in the structured silhouettes and dramatic drapery of this revived aesthetic.

    Medieval art, painted in gold leaf and deepest azurite, offers another wellspring of inspiration. The intricate illuminations of manuscripts, their swirling vines and delicate figures, appear once more. Triptychs depicting saints with sorrowful eyes and robes of scarlet and sapphire relay their mystery through the intricate folds of modern pattern design. The glow of stained glass windows lend their color palettes to jewel-toned velvets and rich fabrics. Each piece of this revival mirrors the past, not merely in style, but in spirit—honoring an age where every prayer to beauty was hand-spun.

    And what of the stories? The great tales of honor and heartbreak, of knights who ride into the night never to return, of love letters penned on parchment and doused in ink from quill feathers? They, too, live again. The very essence of medieval literature—its devotion to enchantment, its obsession with fate—seeps into the folds of these garments, turning them into wearable poetry. To don them is to step into folklore, to hear the distant clamor of a joust, to feel the hush of a moonlit garden where lovers meet in secret. 

    Why now? When the fashion industry has long replaced its looms for factories? Perhaps it is because we seek the permanence that the Middle Ages promised. In an age of haste, we long for the patience of hand-stitched garments, for the weight of a gown heavy with history. Fashion, ever the mirror of desire, has answered with an invitation: step through the cordiform book, into a time when every piece was a story. 

    In a moment of yearning to keep the Medieval aesthetic from becoming “too online” I posted to my instagram “Medieval revival trending in 2025! This era literally courses through my veins but yea..” coupled with imagery of a chainmail pouch, a middle ages costume design sketch, and the unicorn rests in a garden tapestry. Though with all intentions of being a gatekeeper. Here is where I met Samantha Pleet. 

    Samantha Pleet has created a world where fashion feels like a fairy tale, where traces of magic are interlaced into the seams of everyday wear. Her designs are a portal between past and present—melding medieval romance, mythological grandeur, and historical silhouettes with a modern sensibility. Whether drawing inspiration from Joan of Arc’s fearless spirit or reimagining the unicorn tapestries in her textiles, Pleet’s work is a witness to the power of clothing as both armor and narrative. In this conversation, she shares the inspirations behind her collections, the role of storytelling in her creative process, and the enduring enchantment of fashion. 

    Interview With Samantha Pleet 

    Lauren Jane: With medieval-inspired fashion trending in the fast-paced world of micro-trends, how do you feel about this medieval resurgence aligning with your long-standing aesthetic, particularly as a designer committed to slow, intentional production? Does the trend’s fleeting nature challenge or complement your vision?

    Samantha Pleet: I love seeing people embrace medieval-inspired looks because dressing up should always be fun.  As a designer, I’m happy to see people experiment with fashion and don’t take trends too seriously. I also hope that some of this inspiration lingers beyond the trend cycle, even if it just becomes a small part of someone’s personal style. Fairy tales and magic should always have a place in the wardrobe.

    For me, this aesthetic isn’t a passing phase, it’s intrinsic to who I am. My love for fairy tales, films, and legends has shaped my work from the very beginning. When I was little, I had a magical old Victorian trunk filled with family heirlooms that I completely tore apart to create my own costumes and stories. I was obsessed with Shelley Duvall’s Faerie Tale Theatre and would weave my own narratives from those inspirations. Later, at Pratt, I studied the history of costume and spent hours in the archives at The Met. Traveling to places like Venice and Paris deepened my passion for historical fashion, and those influences became the foundation of my first collection in 2007, where we dressed models in coats and hardies, tricorn hats, and harlequin tights.  That inspiration has never left me, and it continues to inform everything I do.  

    Lauren Jane: Your designs feel like a bridge between the past and present, with medieval, mythological, and art historical references merged into contemporary silhouettes. What draws you most to historical narratives, and how do you reimagine them for modern wearers?

    Samantha Pleet: You can see my love of history in the way I name my pieces, they are inspired by legends, myths, and historical figures. For my Fall 14 collection, I drew inspiration from Joan of Arc, even creating a short film to bring the story to life. The silhouettes in that collection echoed armor, and we incorporated Joan of Arc embroidery as a nod to her legacy. But beyond the historical references, I want people to feel like they’re stepping into a story when they wear my designs. Fashion should make you feel like the heroine, or hero of your own adventure. That was also the season I first introduced our beloved Illuminated Print.

    Lauren Jane: Fashion often serves as armor for self-expression. What is one piece in your collection that feels most like armor to you?

    Samantha Pleet: The Shield Corset, not only does it have the silhouette of armor, but it also feels powerful when worn, it accentuates and protects the form. I love pairing it with matching pants as my interpretation of a suit, or sometimes with long gloves for an even more dramatic effect. There’s something magical about the way it all comes together. It makes you feel ready to step into the world even if your fairy tale for the night is a gallery opening instead of a duel.

    Lauren Jane: There’s an undeniable sense of storytelling in your collections—from Persephone’s journey through the underworld to Arcadian dreamscapes. How do literature, folklore, and mythology shape your creative process?

    Samantha Pleet: Storytelling is at the heart of everything I create. I need a reason and a passion behind each piece. My Persephone collection felt particularly epic, it embodied the balance of light and darkness that I think makes any design compelling. Right now, I’m preparing to re-release my Elizabeth collection, inspired by Queen Elizabeth ! who is such a fascinating, complex character. The embroidery in that collection is something I imagine she might have worn herself! I love thinking about what these historical figures would wear in a parallel, modern day universe.

    Lauren Jane: If you could step into any painting or literary world and design garments for its characters, where would you find yourself, and what would you create?

    Samantha Pleet: An obvious one for me is Midsummer’s Night’s Dream. I can just imagine all the magical clothing I could design for the characters to run around an enchanted forest and fall in love in,  I have always wanted to do a short film inspired by this.

    Lauren Jane: From rosettes to ribbons, texture plays such a role in your designs. Are there any historical garment techniques, silhouettes, or forgotten crafts you dream of reviving that you haven’t already?

    Samantha Pleet: There are so many techniques I’d love to explore further! I’d like to try beading and the idea of creating custom jacquards has intrigued me.  

    One of my favorite explorations of historical craft is my Unicorn Tapestry print, that’s what I’d like to do in a jacquard.  I designed the print based on the famous medieval tapestries but removed the people so the unicorns could be truly free. I loved the idea of taking something so iconic and slightly altering the narrative letting the unicorns exist in their own world. It’s this kind of storytelling through fabric that excites me.

    Lauren Jane: Magic is at the heart of your brand. What does magic mean to you in the context of fashion, and how do you spin it into every collection?

    Samantha Pleet: I get a visual image that appears in my mind, and it takes me on a magical journey, becoming something you never imagined. What you have in the end, that is magic. what takes shape after playing around with color, silhouette, technique, and fabric and how it all comes together on the form.  It’s an emergent quality where the process leads to the magical result.

    After all, we all wish to feel like the free unicorn from the tapestry—untethered, ethereal, and part of a story larger than ourselves. Samantha Pleet’s designs offer just that: a way to step into a world where history, myth, and fashion intertwine. Her work proves that clothing is more than fabric; it’s a form of magic, a means of storytelling, and a way to embody the spirit of the past while moving boldly into the future.

    Shop Samantha Pleet Here!

  • The Lonely Hearts of Literature: Why So Many of the Greatest Female Romance Writers Never Married.

    The Lonely Hearts of Literature: Why So Many of the Greatest Female Romance Writers Never Married.

    There is a peculiar irony that lingers in the pages of history: some of the greatest love stories ever written were crafted by women who never lived them. Jane Austen, who gave us the sharp-witted and swoon-worthy Mr. Darcy, never married. The Brontë sisters, whose novels are infused with lust and longing, lived quiet, uneventful lives, largely untouched by romance. Emily Dickinson, whose poetry reads like the breath of a love-stricken heart, spent much of her life in solitude, sending letters to an unnamed beloved who may never have truly existed.

    And yet, these women captured love better than those who lived and lost it. Their words are corroded into our collective consciousness, their stories devoured by generations who turn to fiction in search of the love they cannot find in reality. Why is it that the women who understood love so deeply, who could write it into existence so convincingly, never found it for themselves?

    To be a woman writer in the 18th and 19th centuries was to make a choice. The quiet comfort of marriage or the wild freedom of the mind. Few could have both. Marriage, for most women of that time, was a legal and financial transaction, one that rarely allowed room for creative ambition. 

    Jane Austen, whose novels overflow with canniness and romance, knew this reality all too well. She had her chances, there was Tom Lefroy, a youthful flirtation that was cut short by his family, and Harris Bigg-Wither, whom she briefly accepted before recoiling at the thought of a life bound in uninspired matrimony. In the end, Jane chose her pen over a ring, writing to her niece that “anything is to be preferred or endured rather than marrying without affection.”

    The Brontës, too, lived in a world where marriage was often a compromise rather than a grand love affair. They were raised in near isolation on the Yorkshire moors, their imaginations fed by the rolling hills and the books they devoured. Emily Brontë, the most reclusive of the three, never married, never seemed to have a lover, and yet she wrote Wuthering Heights—a novel so feverish, so consumed by passion, that it seems impossible that it came from the mind of a woman who had never known love herself. Perhaps, for Emily, love existed more beautifully in her imagination than in reality. 

    It is natural to assume that a writer must experience these moments to write it well, but history proves otherwise. In fact, distance may have given these women an even greater ability to understand love. Free from the distractions of real-world relationships which are often messy, mundane, and often disappointing. They were able to construct love in its purest, most idealized form. 

    This may be why their love stories endure. Their understanding of romance was not clouded by the small, inevitable disenchantments of everyday life. They wrote of soulmates, of passion that defied reason, of love that burned so intensely it could only end in tragedy or eternity.

    Emily Dickinson, for example, wrote poetry that oozed with longing. Her words were intimate, secretive, as though written in the dead of night for a lover she could never touch. “Wild nights—wild nights! / Were I with thee,” she wrote, though history gives us little proof that she was ever truly with anyone at all. Perhaps she didn’t need to be. The craving itself was enough.

    Another aspect, a tale the modern woman now knows too well, is that maybe the reason why so many of these women never found love, is that they were simply too extraordinary for the time in which they lived. The men around them could not match their minds, could not keep up with their wit, could not understand the depths of their ambition. 

    Imagine being a woman in Austen’s time, capable of crafting dialogue so sharp it could draw blood, so perceptive it could dismantle an entire social structure in a single sentence. What man could keep up? Imagine being Emily Brontë, so enraptured by the profundity of her imagination that no earthly love could compare. Who could be her Heathcliff?

    It is tempting to mourn for these women, to wish they had known the great, sweeping loves they so beautifully captured on the page. But perhaps, in some way, they did. Perhaps their love was not meant for one man, for one fleeting romance, but for something far greater. Their love was for the world, for the women who would read their words centuries later and find themselves within them.

    Love, after all, is not just something to be lived—it is something to be imagined, to be felt, to be created. And in that, these women were never without it.

    Would love have made their work greater, or would it have dulled the longing that made it so extraordinary?  

  • Re-imagining Icons: The Power of Historical Fashion

    Re-imagining Icons: The Power of Historical Fashion

    Rest in Peace Joan of Arc, You would have loved Good Luck Babe by Chappell Roan.

    Dressing as historical figures is a way for celebrities to blend the past with modern-day culture. Connecting their art with well known stories of the women who paved the way before them. This trend allows public figures to embody a character or a historical moment, adding layers of meaning to their look. Here are a few notable instances. 

    Chappell Roan as Joan of Arc at the 2023 VMAs

    With Sword in hand and chain mail flowing around her body, Chappell Roan’s appearance at the 2023 MTV Video Music Awards dressed as Joan of Arc featured a modernised armour-inspired outfit. Armour traditionally represents protection and defence, and by wearing it, Roan was symbolising the emotional and psychological armour that one builds to protect themselves. In the context of “Good Luck Babe,” the armour could represent a stark contrast to the vulnerable lyrics at play.  Joan of Arc is often seen as a powerful female figure for taking on a traditionally male role as a soldier and leader. Similarly, Roan wearing armour as a female artist coincides with what she stands for. 

    Rihanna as the Pope at the 2018 Met Gala

    Rihanna’s 2018 Met Gala look was another distinctive example of red carpet fashion inspired by historical and religious figures. Rihanna was encrusted with custom pearls, crystals, and intricate beadwork from Maison Margiela by John Galliano; she embodied the Pope, complete with a mitre hat. The theme created a space for her to reimagine Catholic iconography through fashion, reflecting both the divinity and the grandeur associated with papal garments. By dressing as the Pope, Rihanna invoked the highest figure of authority in the Catholic Church. The Pope represents religious power, and spiritual leadership. Wearing a papal mitre (the Pope’s ceremonial hat) and a bejewelled robe, Rihanna’s look could be interpreted as an eloquent statement on female empowerment.

    Madonna at the 1990 MTV VMAs as Marie Antoinette

    At the 1990 MTV Video Music Awards, Madonna’s performance of “Vogue” drew inspiration from Marie Antoinette’s courtly fashion. She wore an elaborate wig and gown that referenced the extravagant clothing of the French aristocracy. The performance was a modern take on the 18th-century aesthetic, combining historical elements with pop culture references. Madonna, by embodying this figure, tapped into the image of excess and luxury, aligning herself with the same sense of grandeur. The performance was an assertion of Madonna’s own dominance in the music industry, using the queen’s lavishness to highlight her own cultural influence. Madonna drew a parallel between herself and the French queen, positioning herself as a controversial and rebellious figure. Marie’s reputation for defying court conventions and engaging in scandalous behaviour became part of her legacy. Similarly, Madonna was no stranger to controversy, frequently pushing the boundaries of what was considered acceptable in mainstream media. The performance, with its sensual undertones and provocative nature, was a reflection of how both women were scrutinised and often vilified for their behaviours in the public eye.

    Beyoncé as Nefertiti at Coachella 2018

    Beyoncé’s performance at Coachella 2018 paid homage to Queen Nefertiti, the ancient Egyptian ruler, in her costume design. With an enchanting headpiece and regalia reminiscent of ancient Egypt, Beyoncé embodied Nefertiti’s status of  power, heritage, and feminine divinity. Nefertiti, the queen of ancient Egypt, is remembered as one of the most powerful and influential women in history. She ruled alongside her husband, Pharaoh Akhenaten, and was considered a co-ruler, an unusual position of authority for a queen. Beyoncé’s decision to embody Nefertiti at Coachella—one of the most widely watched and culturally significant music festivals—was a way of reclaiming this powerful historical figure. It brought Nefertiti and her African roots into the global spotlight.

    Lana Del Rey as the Virgin Mary at the 2018 Met Gala

    Lana Del Rey took to the 2018 Met Gala draped in an ornate robe, stabbed with swords, and crowned with feathers, she embodied the Virgin Mary. She wore a custom Gucci gown with intricate detailing of a sacred heart and a headpiece resembling a halo with a golden ray. The Virgin Mary symbolises purity, grace, and divinity, She is also seen as a figure of immense suffering, particularly in her role as the grieving mother of Christ. Lana Del Rey, by embodying the Virgin Mary, highlighted themes that are central to her music, such as spiritual longing, the tension between purity and sin, and the pain of love.  The Virgin Mary, especially in her role as Mater Dolorosa (Mother of Sorrows), is an archetype of feminine suffering. Comparatively, Lana’s lyrical universe is filled with stories of melancholy and longing. 

  • Unveiling Creative Influences: From Gothic Fashion to Ethereal Films and Haunting Paintings

    Unveiling Creative Influences: From Gothic Fashion to Ethereal Films and Haunting Paintings

    I saw my life branching out before me like the green fig tree in the story. From the tip of every branch, like a fat purple fig, a wonderful future beckoned and winked. One fig was a husband and a happy home and children, and another fig was a writer, and another fig was a filmmaker, and another fig was a fashion designer, and another fig was England and America and France, and another fig was Austin and Plath and Wharton and a pack of other lovers with queer names and offbeat professions, and another fig was an art director, and beyond and above these figs were many more figs I couldn’t quite make out. I saw myself sitting in the crotch of this fig tree, starving to death, just because I couldn’t make up my mind which of the figs I would choose. I wanted each and every one of them, but choosing one meant losing all the rest, and, as I sat there, unable to decide, the figs began to wrinkle and go black, and, one by one, they plopped to the ground at my feet. 

    The fig tree analogy in The Bell Jar by Sylvia Plath immobilises me at the mere thought of the word “fig.” My tree has been a burden to me since I gained consciousness of the fact I have to be someone. Considering myself an artist in the most pretentious sense of the word, most of my influence stems from England. The music, culture, and gothic architecture constantly having grey clouds overhead, but most notably, the fashion. From travelling exceedingly as a child, my favourite game to play with myself was comparing what the cool girls would wear in each country, constantly analysing styles between the US and UK, and trying to find myself right in the middle, taking pieces from each. My style icon is Alexa Chung, the quintessential British “It Girl.” Her signature style seamlessly fuses British heritage pieces and vintage finds with a modern edge, effortlessly pairing feminine dresses with tomboyish staples like loafers, oversized sweaters, or blazers. She is the type of girl to wear a peter pan collar and Miu Miu ballet flats to the pub. This has made her a muse for designers and a beloved figure in street-style photography. Additionally my fashion designer of choice has always been Alexander McQueen. He frequently pushed the boundaries of traditional women’s fashion, incorporating gothic, romantic, and surreal elements. His collections often feature intricate tailoring, elaborate fabrics, and bold silhouettes that challenged conventional ideas of femininity. McQueen’s designs celebrated the strength and complexity of women, often reflecting themes of empowerment and vulnerability.

    I don’t watch many movies or TV shows. I often say I would rather hallucinate my stories between ink on pages and songs with lyrics that flow in and out of my consciousness. However, some films are able to break through my wall. Storytellers who I allow to make me sit and watch the visual contents of their minds. Sofia Coppola comes to the forefront of thought. Her films focus on themes of isolation, identity, and privilege, frequently depicting young women grappling with existential issues. Coppola uses sparse dialogue, lingering shots, and atmospheric soundtracks to create a sense of emotional distance and melancholy. The mood of her work is often ethereal and intimate, evoking a subtle, quiet beauty. That which encapsulates my being and what I hope to convey to the world.  

    I find myself daydreaming intensely, almost to a fault; music, the soundtrack to my creativity, usually depends on Arctic Monkeys’ lyrics, which often explore themes of youth, nightlife, relationships, and introspection. Alex Turner crafts vivid, frequently witty, and poetic depictions of love, desire, and the complexities of modern life. Their songs are filled with clever wordplay, sharp observations about social dynamics, and a sense of urban realism. Many tracks have a nostalgic or melancholic undertone, blending emotional depth with energetic, guitar-driven sounds. There’s a recurring theme of romance, self-awareness, and reflection on fleeting moments, all wrapped in evocative imagery. 

    I don’t necessarily have a favourite author. I know I am akin to specific genres and believe they have to start giving titles to books in which a young, beautiful girl goes insane due to reacting to her self-inflicted reality and starts taking sleeping pills. Those always resonate: “I understand her.” I think of these characters and keep them close to my heart. May Welland is the central character in The Age of Innocence by Edith Wharton. Who embodies the ideal image of innocence and purity. Although outwardly conforming to societal expectations, she shows subtle strength and determination; despite her seeming naivety, she proves to be more perceptive and manipulative than she first appears. 

    I have always been envious of those who know their favourite piece of art. Mine changes often, though I have always gravitated towards Edvard Munch’s painting “The Vampire,” which depicts a woman with a menacing, almost demonic appearance kissing a man whose head is pressed against her shoulder. The painting is known for its intense emotional impact and unsettling atmosphere. The woman’s gaze is hypnotic and predatory, reflecting themes of obsession and desire. The dark, moody colour palette and dramatic composition contribute to the artwork’s overall sense of dread and unease. I appreciate Edvard’s work.  His expressionist paintings explore themes of anxiety, death, and existential dread. Edvards Munch’s art often reflects his struggles and the psychological depth of the human condition.

    I believe every woman needs an emotional support historical figure. Fortunately for me, I have two. Anne Boleyn symbolises the complex interplay between personal ambition, political power, and religious change in early 16th-century England. Additionally, her life and tragic end have made her a lasting figure in literature and popular culture, embodying themes of love, betrayal, and the struggle for influence. Though I adore how Anne fought for political power, I have a soft spot for Queen Victoria; I always ensure jet jewelry is visible on my body for her. On her wedding day, she wore a white satin gown adorned with Honiton lace, a break from the tradition of colorful bridal dresses. This decision helped popularize white as the standard for brides, symbolizing purity and innocence. In stark contrast, Queen Victoria entered a long mourning period after her husband’s death, Prince Albert. She famously wore black mourning attire for the rest of her life, making the “widow’s black” a symbol of grief and loss. Her mourning dress, austere and somber, became synonymous with the mourning culture of the Victorian era, shaping fashion trends for decades. Her white wedding gown and black mourning dress reflect the intensely personal emotions she associated with love and loss, turning these garments into historical symbols of her life and reign.

    Though I, unfortunately, do not have a British Monarchy to rule or an adaptation of The Virgin Suicides to write up, I find my creative inspiration in an amalgamation of visual art, music, literature, and history, which influence how I perceive and interpret the world. Whether it’s Sofia Coppola’s ethereal films, the Arctic Monkeys’ introspective lyrics, Munch’s haunting paintings, or the complex lives of women like Anne Boleyn and Queen Victoria, I connect gravely with themes of isolation, identity, ambition, and desire. These influences echo my introspections and fuel my constant search for beauty in the melancholy and complexity of life.