70s Medieval Revival
In a decade defined by the Vietnam war, an unstable US government and a crippling inflation crisis, an ancient flame ignited in the center of 70s media. To combat years of political unrest, medieval fantasy emerged as a surge of archaic escapism filled with battles, enchantments and iconic flared sleeves. Music focused on artistic Romanticism; fashion looked to the gothic Romanesque and the film industry was dominated by epic adventure sand unlikely heroes. The medieval helped nations to build vivid imaginations in a period of gloom.
In the late 60s, neo-medievalism influenced the music industry, blending various types of rock with 14th century instruments. The English folk rock band Fairport Convention emerged in 1967, blending electronic instruments with traditional melodies on the mandolin and fiddle. Other bands were inspired by this return to historical roots, Led Zeppelin experimented with medievalism especially in their album "Led Zeppelin VI', songs like The Battle of Evermore' and "Misty Mountain Hop' directly alluding to 1.R.R Tolkein's fantasy series The Lord of the Rings'. Similarly, Stevie Nick's was influenced by folk tales in Fleetwood Mac's song "Rhiannon' written about a Welsh witch in the poetic tales of the Mabinogi.
Stevie Nicks is also labelled as a fashion influence for this mystical aesthetic, characterized by the bell-sleeves, flowing materials and celestial patterns that embodied the release of ‘Rhiannon’ in 1975. Her staples included black lace, velvet materials, moody colour schemes and crystal jewelry, synthesizing medieval superstition and medicine to glamorize ‘the witch’ aesthetic. The 70s bohemian or ‘hippie’ style maintained this focus on nature and spirituality, rejecting conventional societal values and reinventing the values of the youth. Fashion widely incorporated psychedelic colours and bohemian patterns reflective of the dreamy idealism that medievalism promoted as preferable to the draining political reality of the age.
This concept was maintained in film and literature, channeling ‘realistic’ narratives of battles and oppressive monarchies with magical elements like elves and dragons. J.R.R Tolkien became the main example of modern fantasy, by 1968 selling over 3 million copies of ‘The Lord of the Rings’ in America. Film and TV adapted to the popularity with Ralph Bakshi’s animated ‘The Lord of the Rings’ as well as defining works such as ‘Camelot’ (1967) and ‘Monty Python and the Holy Grail’ a British comedy, humourising the Arthurian legend. Film and TV aimed to promote perseverance, chivalry and comradery, with heroic characters going on quests to save the world, spreading positive morals that fueled the escapism of the medieval revival.
Kersten Davies
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