Medieval Peasant Pageantry with Greedy Peasant's Tyler (Dressed Classic)

Summary

Podcast Summary: Dressed: The History of Fashion

Episode: "Medieval Peasant Pageantry with Greedy Peasant's Tyler"

Date: January 2, 2026
Hosts: April Callahan and Cassidy Zachary
Guest: Tyler Gunther (creator of Greedy Peasant)

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Overview

In this engaging and insightful episode, hosts April Callahan and Cassidy Zachary dive into the colorful and imaginative universe of the "Greedy Peasant," a viral social media character created by Tyler Gunther. Greedy Peasant blends queer joy, medieval costume history, and humor into a one-of-a-kind figure who’s captured hearts across platforms like TikTok and Instagram. The conversation explores how Tyler’s background in costume design, Catholic pageantry, and illustration informed the creation of Greedy Peasant’s world—a playful, queer “medieval fever dream”—and examines how fashion, history, and identity intersect in this unique digital phenomenon.

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Key Discussion Points and Insights

1. Origins of Greedy Peasant and Tyler’s Background

• Childhood Fascination With Catholic Pageantry
  • Tyler’s earliest costume memory comes from growing up Catholic and loving a saints picture book full of dramatic, historical dress.
    • “Catholic imagery is, like, very bold and dynamic and dramatic and flamboyant.” — Tyler [06:55]
  • Annual All Saints Day costume events at school were a “big deal,” igniting a love for dressing up and historical costumes.
• Path to Costume Design
  • Tyler’s journey involved volunteering at local Shakespeare festivals and pursuing costume design during college and grad school.
  • Realized the challenges of theater work ("a one person show who's supposed to design an entire [show]...often with little budget or support." [09:34]) and eventually found a balance by assisting artist Robin Frohardt, which allowed space to pursue personal projects.

2. From Illustration to Viral Social Media

• Instagram as Creative Playground
  • Tyler’s illustrative work developed over years, blending humor, history, and fashion—laying the groundwork for Greedy Peasant.
  • Series such as “First Lady Facts” and comics about historical figures showcased Tyler’s blend of wit and love of costume illustration.
    • “Instagram turned into this platform that supported that impulse, where I can illustrate things that aren't tied to a production.” [14:25]
• Birth and Evolution of Greedy Peasant
  • Originated from a medieval puppet show and performance, with the iconic costume pre-dating social media fame.
  • Greedy Peasant transitioned to TikTok during pandemic quarantine—Tyler credits Robin Frohardt for pushing him to join the platform and embrace weirdness.
    • “Locking me in a hotel room for two weeks and not letting me out is how you make a greedy peasant.” [24:41]
  • TikTok's anonymity empowered Tyler to get creative and connect directly with an audience, rapidly gaining popularity.

3. Constructing the Queer Medieval Universe

• A World of Joy, Not Judgment
  • Greedy Peasant’s character is intentionally placed in a loving, supportive medieval context—not persecuted, not hiding, but happily queer.
    • “I just wanted to see this queer figure be happy, which I didn't grow up with that kind of representation… it was kind of like a reset button for myself.” — Tyler [19:38]
  • The world is loosely inspired by medieval history but centers joyful, exaggerated, and queer perspectives for narrative healing.
• Community and Characters
  • The “costume shop” is staffed by the Sisters of Our Lady of the Sacred Blood of the Most Holy Martyr, a nod to Tyler’s love of working in real-life costume shops [25:00].
  • Anthropomorphic reliquary busts, inspired by a Met Museum exhibit, offer comic commentary on Catholic relic culture.
    • “Their job is to hold body chunks of dead people. And I think that's the funniest thing.” — Tyler [25:56]
  • Running jokes include Greedy Peasant’s “children” (giant tassels named Gwen and Dwyn) and the village’s pageant dramas.

4. Medieval Fashion: Sleeves, Tassels, and Gender

• Greedy Peasant as Medieval Fashion Icon
  • The character’s attire: oversized sleeves, leggings, boots, beret—dramatically styled yet rooted in historical inspiration.
    • “For me, it just gave me permission to kind of like, if you're not trying to match that energy, you're not doing medieval.” — Tyler [32:15]
  • Medieval men’s fashion was far more colorful, flamboyant, and ornate than modern perceptions suggest.
    • Notable quote:
      • “The men were the dressers. I loved that. And then you look at the paintings and it's… yes, they were saying so much with what they did.” — Tyler [31:41]
• Sleeves as Artistic Obsession
  • “Sleeve-mas”: Tyler sews and showcases elaborate sleeve designs. Historically, changing sleeves was common and a practical way for Tyler to create multiple looks without needing to sew full garments.
    • “If I could make 10 sets of sleeves, that would be better than me, like, starting a big tunic project that I never finish.” — Tyler [39:20]
• Tassel Mania
  • Tassels began as a costume embellishment but took on a life of their own, becoming a Greedy Peasant icon with fans sending tassels from around the world.
    • “Tassels… They're in every culture on every continent and an art form.” — Tyler [41:20]
  • Tyler now keeps a “tassel gallery” and is constantly awed by the diversity and histories embodied by tassels in material culture.
• Challenging Modern Gender Assumptions
  • Greedy Peasant directly counters modern, binary interpretations of masculinity and medieval culture.
    • “When you actually look at medieval artwork even the armor, it's so flamboyant and colorful...our perception of medieval times has been warped by popular culture.” — Tyler [34:01]
  • “Gender is a spectrum… And then you have people, like, wearing these fabulous textiles within those rooms.” — Tyler [36:02]

5. Impact and Reception

• Community and Healing in Isolation
  • Greedy Peasant offered online audiences joy and respite during the pandemic’s hardship and isolation, much like other pandemic phenomena (e.g., Bridgerton) [46:06].
• Connection with Academia and Fashion Historians
  • Medievalists have reached out not with criticism, but with support and appreciation for the creativity and positive portrayal.
  • The project has fostered a renewed, wider appreciation for medieval fashion among Tyler and his followers.

6. How to Find and Support Greedy Peasant

• Instagram: @greedy.peasant
• TikTok: @greedypeasant
• Patreon: Supports video production, costumes, and deeper research (includes exclusive content such as “making a medieval beekeeper outfit” [48:01]).
• Shop: Stickers, prints, and more on the official website.

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Notable Quotes & Memorable Moments

• [06:55] Tyler: “Catholic imagery is, like, very bold and dynamic and dramatic and flamboyant.”
• [14:25] Tyler: “Instagram turned into this platform that supported that impulse, where I can illustrate things that aren't tied to a production.”
• [19:38] Tyler: “I just wanted to see this queer figure be happy, which I didn't grow up with that representation… it was kind of like a reset button for myself.”
• [25:56] Tyler: “Their job is to hold body chunks of dead people. And I think that's the funniest thing.”
• [34:01] Tyler: “When you actually look at medieval artwork and even the armor, it's so flamboyant and colorful. So our perception of medieval times has been warped…”
• [39:20] Tyler: “If I could make 10 sets of sleeves, that would be better than me, like, starting a big tunic project that I never finish.”
• [41:20] Tyler: “They're [tassels] in every culture on every continent and an art form.”
• [45:13] Tyler: “People have accused me of acting, which I would never do because, yeah, I want to share it with everyone…”

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Important Segment Timestamps

• [05:50] Tyler on earliest fashion memory and Catholic pageantry
• [09:34] Pursuing and reevaluating a career in costume design
• [14:25] Instagram illustration and nerdy historical humor
• [16:01] First medieval puppet show and birth of the costume
• [19:38] Crafting a joyful, happy queer medieval character
• [22:41] TikTok quarantine origin story of Greedy Peasant
• [25:00] Explaining fictional supporting characters: nuns, reliquaries, and “children”
• [31:27] Greedy Peasant’s relationship to medieval dress, sleeves, and evolving menswear
• [33:03] Pop culture’s inaccurate depiction of medieval masculinity
• [39:20] The genesis of “Sleeve-mas” and focus on detachable sleeves
• [41:20] Tassel obsession and the global history of tassels
• [46:06] The emotional importance of Greedy Peasant during the pandemic
• [48:01] How to find Tyler and support Greedy Peasant (Patreon/shop)

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Conclusion

This episode offers a warm, witty, and nuanced look at how history, fashion, queerness, and creativity can intertwine to produce cultural magic. Tyler Gunther’s Greedy Peasant is more than a viral character—it’s an invitation to question historical narratives, rediscover lost joys of fashion, and build community through humor and authenticity. Greedy Peasant encourages listeners to embrace pageantry, playfulness, and identity—no matter the century.

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Want more?

• Instagram: @greedy.peasant
• TikTok: @greedypeasant
• Patreon & Shop: Links available via Greedy Peasant’s social profiles and official website.
• Further Reading: Follow the hashtag #dressed319 for episode-specific content and visuals.

Transcript

[A]

This episode is brought to you by Dead Man's Wire, the new film from roquet entertainment. Dead Man's Wire is the incredible true story of the 1977 kidnapping that turned an aspiring entrepreneur into an outlaw folk hero. Directed by legendary filmmaker Gus Van Sant, Dead Man's Wire stars Bill Skarsgrd, Dacre Montgomery, Cary Elways and My Halla with Colman Domingo and Al Pacino in select theaters January 9th everywhere January 16th hi, it's Sam Rinehart from the Florida Panthers. Watch as we take on the New York Rangers in the 2026 Discover NHL Winter Classic in Miami. The NHL Winter Classic is coming to the Sunshine State Ring in the New Year with me in Miami. Catch all the action on January 2nd at 8:00pm Eastern on TNT and HBO Max. That's January 2nd at 8:00pm on TNT and HBO Max. For tickets and More info, visit NHL.com.

[B]

Please enjoy one of our favorite episodes from the Dressed archive of over 500 plus shows. The history of Fashion is a production of dressed Media. With over 8 billion people in the world, we all have one thing in common. Every day we all get dressed.

[C]

Welcome to Dressed the History of Fashion, a podcast that explores the who, what, when of why we wear. We are fashion historians and your hosts April Callahan and Cassidy Zachary.

[B]

Dress listeners. On Tuesday we met some Renaissance era fashion bloggers and today we get to meet a medieval peasant fashion influencer who has taken the world by storm. The one, the only, the Greedy Peasant. Or rather, we will be chatting with the peasant behind Greedy Peasant, Tyler Gunther.

[C]

And for some of our listeners, Tyler and Greedy Peasant may need no introduction, but for those of you who are not in the know already, hold on tight because we are about to take a trip into the queer medieval fever dream of the Greedy Peasant. A sassy, queer fashion loving medieval peasant who graced the world with his presence on TikTok and Instagram during the pandemic and has capped captured hearts all around the world. Definitely including ours. We are both huge fans and if if you can't quite wrap your head around what we're talking about just yet, here is a small sound bite. Just to give you an idea.

[A]

What you are seeing right now is rare colorized footage of backstage costume preparations for a medieval pageant in 1422. The Tasseled Wobbegong Shark costumes before you were constructed by the Sisters of Our lady of the Sacred Blood of the Most Holy Marty Costume Shop. The medieval costume designer's name has been lost to history and will remain unknown, but was most likely gay and just.

[B]

A Little bio on Greedy Present brought to you from Molly Olmsted's Slate article. Make Medieval Stuff Queer Again. So Molly. Molly actually watched hundreds of greedy peasants tiktoks and reels. And there are hundreds. There's so many. And was able to piece together a little bit of a bio about his world in life. And she's. She writes, quote, he makes a living as a junior pageant planner. His twin brother is a monk who has taken a vow of silence. His gruff father wants him to grow up and get a good, honest job as an executioner. He tries too hard to relate to his friends. He dreams of one day designing his village's Christmas pageant. He is gleefully queer and goes on dates, one of which completely flops when the incorruptible body of a saint he and his date have gone to see turns out to be disappointingly headless.

[C]

Oh, my gosh. I hate it when my pilgrimage dates go awry. Cass. But something that Molly's article did not happen to mention is that the Greedy Peasant is a bit of a fashion lover and we would argue fashion icon. And we're going to learn more about this with the Greedy Peasants creator, quote, founder and spiritual leader Tyler Gunther, who graces us with his presence today because, well, the Greedy Peasant does not do interviews as of yet. Tyler, thank you so much for joining us.

[B]

Tyler, welcome to Dressed.

[A]

Thank you so much. Happy to be here.

[B]

I am so excited to have you here. And of course, we were talking a little bit before we started recording. This is not actually the first time we have met, apparently, because some paparazzi photos have recently been linked, revealing we were both at Jonathan and David's wedding in 2017, so.

[A]

2017. Yeah. I think that's very special. That was like a hot ticket and I'm glad we're both there. We did not connect because there was so much going on, but yeah, the theater world is so small. I'm like, we must know each other or people. So that's good to know.

[B]

Absolutely. And you and I have met, but I've yet to meet Greedy Peasant, who I know prefers to remain mysterious and doesn't do interviews. So you're obviously the next best thing. So thank you for joining me.

[A]

Yeah, he's not great emails or comment sections. He's very busy. But we have a lot in common.

[B]

So, yes, you're the next best thing. And I'm so excited to talk to you today and learn more about the peasant behind the Greedy Peasant. So do you have an earliest memory of dress that sparked your interest in pursuing your career?

[A]

Yeah. I was thinking about this, and I think the correct answer is this picture book of saints that I had as a little Catholic kid that I just, like, pored over and looking at it now, it's like kind of a costume history book, because you have, like, biblical fashion through, like, the 1900s, and that was. I, like, have it memorized. And then at my Catholic school, we didn't dress up for Halloween. We dressed up for All Saints Day, which is, like, the day after. So we would use that book to then make costumes. So that was my first Catholic pageantry costume experience as a little kid. And it was a big deal for me, as you can imagine. And then you go to school with, like, all these other little kids dressed up as, like, martyrs and Virgin Marys. And I just remembered also vividly being like, this is. This is real life. I like this. Like.

[B]

Just in those first two minutes, so much about greedy peasant is making sense.

[A]

Thank you. That's what I would like, because it wasn't like I come from a particularly fashionable lifestyle, but, like, Catholic imagery is, like, very bold and dynamic and dramatic and flamboyant.

[B]

It was intended to be that way. Right. Because so many people couldn't read. And so it was intended to be this display of wealth and pageantry.

[A]

Yeah. So you have Saint Sebastian always has arrows sticking out of him, because you just need to know, like, that's him. So then to have a little third grader going to school with, like, arrows sticking out of them, because we're just so normalized to that kind of, like, dramatic imagery, I think affected me. That's why, obviously, we're here today.

[B]

Yeah, it makes sense. And how did you come to costume design as a career?

[A]

I. I think when I just learned about it as a concept, that just made so much sense to me as, like, junior high, because it's not like I knew any. I didn't know any costume designers. I didn't know how that worked. I didn't know that was a job.

[B]

Right.

[A]

But I had an art teacher explain to me the Priscilla Queen of the Desert costumes. I hadn't seen. Like, Netflix wasn't out. So I just remember her describing them to me and then being like, and they won the Oscar, which I knew what the Oscars were. So I was like, it just like something. I was like, that's what I want to be. Because there's this whole career that seems so exciting and wonderful, and I didn't know anything about it. So I was kind of like, saying I was going to Be a costume designer for a long time thinking that no one would believe me because nobody in Arkansas knew one. So then I like went to school for it and was like, oh, this is what costume design is. It's not rose colored glasses.

[B]

Right. It's a lot of work.

[A]

A lot of work. Nobody warned me. Just exactly what all goes into the behind the scenes of making art. But yeah, I still think it's the most fascinating jobs, the psychology of it, the history, the, the fact that you do get to jump between sci fi and medieval and modern.

[B]

Yeah. And it's a hugely creative field as well. And I studied costume design, but I, as our listeners will know, only really, really enjoyed or the part I enjoyed the most was the historical research and then parlaying that into the fash field of realizing, oh, I can be a fashion historian. But it was directly connected to my training as a, as a costume designer. Can you tell us just a little bit before we dive into greedy? Just about what you were doing before greedy. Tell us a little bit about your career in costume design.

[A]

Yeah, I was lucky because a Shakespeare festival started in my hometown when I was in high school. So I started volunteering in that costume shop and once again was just like, oh, these are my people. They were all so like, smart and funny and knew what they were doing and knew how to sew costumes. So then I kept bouncing around to different, like Shakespeare festivals and opera festivals, went to grad school for costume design and then moved to New York and did costume design for one year and was like, oh, no, I don't think I can do this forever. Just because suddenly it was like, you're a one person show who's supposed to design an entire. Costumers sometimes don't have any support, but they're treated as if they do. And I think they're the best people, the most talented people. But I'm like, I don't think I'm cut out for this. Which was disappointing when that's what you've been training for, going to undergrad and going to grad school. Sometimes you're losing money on shows because you're just wanting the costumes to look so good, but you don't have the budgets to support them. So yeah, it was like a little bit of a shock to the system. And then I got so lucky because I started working for an artist as an assistant and that was more steady. I worked for Robin Frauhart, who's this brilliant artist and puppeteer and theater maker. So I started working for her full time. So I was no longer like bouncing around from theater to theater. And that I think gave me the space to start developing my own work because I had this. I was with her four days a week working on the plastic bag store, her project. And there was just some like, stability, which was great. That year after grad school, it was just so going to all these different theaters and different meetings and yeah, you're.

[B]

Kind of your own champion in the theater field too. It's a lot of hustle, a lot of work going from job to job if you're not at a theater specifically full time.

[C]

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[B]

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[A]

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[C]

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[B]

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[B]

You honed your skills, your construction skills. All of these things are going to come into play when we talk about greedy. But I also want to mention, and those are our listeners who follow you, you're a super talented illustrator yourself.

[A]

Oh, thank you.

[B]

And I like went through your entire personal Instagram.

[A]

Oh, no. Yeah, there's been some faces, there's been some error.

[C]

Yeah.

[B]

And so you have this, like, serious. You really see it develop. You know, there's a series of artworks through over the years that celebrate historical figures. And you really created this, like, fun, unique style, presenting these comical historical facts often intermingled with fashion. And then you have, like, this unique, illustrative style combined with this signature wit that we all know and love today. You have, like, first lady facts. In 2018, youth had things I did not know about the British monarchy. That was really fun. One of my favorites was Queen Anne. Reigned 1702-1714. Quote, Anne had a notorious fight with her best friend, the Duchess of Marlborough, outside a Church in 1708. And then you have these two sassy ladies that are like, do you think anyone hurt us? No, we're good. Anyways. All of that's relayed in, like, this one little square on Instagram. So you really start to see the workings of things that are going to play out in the Greedy Peasant universe.

[A]

Totally. No, I didn't expect. I appreciate you going through all of that because it's totally just an escalation to where we are now a hundred percent. Because, as you liked the costume research aspect, I love the costume illustration aspect. So I'm kind of like, if I was just illustrating all day, I'd be happy. So Instagram turned into this platform that supported that impulse, where I can illustrate things that aren't tied to a production, and maybe this platform will be a good place for them. Yeah, it was totally like the British Monarchy illustration series led to Greedy Peasant because I learned I had the whole stretch of medieval monarchs which I didn't know anything about. And so having to research them to make these comics led to Greedy Peasant. So it's fun that. Yeah, Instagram is now this time capsule for all of us where you're like, for sure, wow, 2018 was very different. But also there's, like, clues to what Sabacca and in all of our lives.

[B]

So there's hints at the origins and inspiration of Greedy Peasant, Such as in 2016, there's a post of a statue and you write, current mood, historic cement art. I'm like, okay, okay. And then, yeah, it was an old one. And then in 2018, a now recognizable figure is photographed in front of some art at the Cloisters. Felt medieval pun F E L T Medieval my delete later. You obviously did not. Against my better judgment, I made a medieval puppet show, and then I had to make a medieval outfit to match. It's a very slippery slope. So is this where Greedy Peasant was born?

[A]

Yes, I'm so glad you brought this up, because it's hard to explain it all, because it was like working for Robin. Brilliant artist, creator of the Plastic bag store, was like, you should apply for this puppet residency. Which I did and had the best time called Object Movement. And I. I just don't. Somehow I ended up making the show about this queer relationship between Piers Gaveston and Edward ii. And then I was like, I need an outfit. So that's where I made this outfit for no money. Like, there was no social media aspect really to it. We were performing in a church balcony in Manhattan, which is kind of like the perfect venue for me of this, like, old church. And I attempted to tell this, like, factual story about this, like, queer relationship in medieval times, which I just found so exciting. And, yeah, that's, like, where that costume came from. But that was, like, years before TikTok, years before anything really took off. But then suddenly I had this peasant costume in my closet, and whenever I, like, was like, I could do something with this. I had it ready. So that was nice. It wasn't like I made it for social media. I made it for this live show. So there wasn't all this pressure, I guess, that it could just build over time, like you're saying. And then I did another puppet residency because Robin told me to apply for it, which I appreciate. And then on that one, I was like, I don't really want to be factually accurate anymore. This is so hard. I shouldn't say that. But it's like applying modern queer labels to historical figures, as, you know, is not always the easiest thing because it's completely different context. So I'm like, let me make my own character who is queer, who identifies as queer, who is happy, who lives in this world, and let's build a world around him. So that's. That was the next step to where we are now was kind of not being like, I'm a storyteller of factual information to I'm a very busy peasant who works at a costume shop in 1423. That's what's up. I think that answered your question. Yeah.

[B]

So. And parley's perfectly into my next one, which is so greedy. Peasant lives in a, quote, queer medieval fever dream that is his out of this world world. That's, like, loosely inspired, but also inspired by history. Or rather, it's an imaginative retelling of history and a history that so often excludes the queer experience in the written record because we know queer people have been in existence immoral. Right. Yeah. So can you tell us about Greedy Peasant's world and his place in it? You mentioned working. I think he's 1423 in a costume shop.

[A]

Yes, he is an aspiring costume pageant designer in 1423. And really the basis was showing a queer figure in a historical period, just like being happy, not being concerned or persecuted or judged or being kind of defined by how he shouldn't be queer in this context. I just wanted to see this queer figure be happy, which I didn't grow up with that kind of representation. And like, I grew up very ashamed of my queerness and felt like I needed to hide it and felt like I wasn't hiding it correctly. So for me, like, crafting this world was kind of like a reset button for myself, which is a little therapy conversation.

[B]

I was gonna say it feels like a little healing as well.

[A]

Yeah, definitely. Because I'm like, what if there just was a version of myself that wasn't nervous throughout my entire adolescence about being gay? I don't even know what that Tyler looks like. So the Peasant is very healing and hopefully other people can connect to that feeling of just like, yeah, he's just living his life and he's totally embracing his queer imagination. But not at odds with a conservative backlash and placing him in the medieval times, which I was taught was like the most Catholic, the most conservative, the most dangerous time to be queer, which now I understand. It's not that clear cut. Like, they viewed it all so differently and we were just kind of taught a version of history that is helpful to more heteronormative ways of thinking. But that's not actually history.

[B]

Yeah. As I always say, and I'm not alone in this sentiment, but history is just made up of stories. And it's how people have written those stories. Who gets to write those stories, you know, that draft the narrative of history. But that is just one perspective. Often it excludes people. Often it is very narrow in its depiction of a very diverse world.

[A]

Definitely. And I'm not a medieval historian, but totally running into that. But they were roommates sentiment. They were blood brothers. Like, oh, but would it be so bad? You're kind of saying that because it's so bad to imagine they're gay. Whereas I'm like, let's just approach this as like, maybe it would be great, maybe it'd just be normal. There's no pressure for it to be good or bad. So I like that.

[B]

Yeah. And Greedy Peasant is living his best life. I mean, let's be honest, he is.

[A]

I mean, he's Very stressed as I am. It's not about being designing the Christmas pageant. It's stressing him out. And I love that that, that's his concern. Whereas, like, mine was like, how do I, like, hide myself? How do I adapt myself?

[B]

Right, right, right.

[A]

Police my behaviors and yeah, I'm hoping that other people can, can enjoy that aspect of it too.

[B]

I mean, Tyler, there's no question you are a global phenomenon. Greedy Peasant is a global phenomenon, as your website says, created during a plague quarantine.

[A]

The timing of it was so odd to have the world on pause during this plague and be like, suddenly my medieval content is a little bit more relevant than I thought because like we said, it started in like 2018, so it was very pre plague. But yeah, it's been the most exciting thing.

[B]

Can you tell us a little bit about what that journey looked like? Like you started recording Grady on TikTok. I'm not on TikTok, so forgive me, I, I, I came to him via Instagram. But you started recording these little videos. And can you kind of tell us a little bit about that journey and how it just kind of started? My guess would be spiraling because people just fell in love with Greedy and it's very easy to do.

[A]

Thank you. Yeah, it was, I think it was just like the funniest start because I was with Robin Frowhart again, major figure. We were in Australia in a plague quarantine. We had to quarantine for two weeks in hotels and I had brought my peasant costume to post to Instagram. And I remember on like the eighth day of quarantine, she texted and was like, if you don't make a TikTok, you're fired. Joking. Because I was terrified. Oh, yeah, she is the best. And But I was like, no, I don't want to be bullied by teenagers. No, thank you. But I also kind of needed someone to be like, just try. And so Tick Tock was this like, perfect place because I didn't know anyone on there. None of my friends followed me, none of my family followed me. So I could just be kind of weird, weirder than I felt I could be on Instagram. And that loosened me up and people connected with it because suddenly there's this medieval peasant on TikTok with no context. I started. I mean, there was no Tyler account on TikTok. There's just greedy Peasant. Whereas on Instagram, as you saw, there's like this whole history and build up. Whereas TikTok was like, we're off to the races, that it Was. Yeah, it was good. I needed that kind of, like, fresh start. And then now it's on Instagram as well. And, like, that community has been so wonderful and supportive. But, yeah, like, locking me in a hotel room for two weeks and not letting me out is how you make a greedy peasant. And that's not typical. That's not a typical thing. But we all went through it. This plague restrictions you're faced with yourself.

[B]

Right. And this quarantine that's so unprecedented for all of us. And I think that it bred your creative energy and your confidence even to. To kind of put that out there is kind of incredible.

[A]

Yeah. I think for so many people, especially people in the arts, like, having that pa. Like, everything was so bad, of course. But having that pause where you're not just constantly, like, trying to find the next job did give you some brain space.

[B]

Yeah.

[A]

I think a lot of people on this journey, I just happened to be wearing a wig and covered in tassels.

[B]

Which we're going to talk all about. So first, I kind of want to talk about the other inhabitants of Greedy Peasants World. Can you tell us about your team? Because these are very, very special individuals.

[A]

Yes, I'm sure I'm going to leave someone out, but the costume shop is run by the Sisters of Our lady of the Sacred Blood of the Most Holy Martyr, which is helpful to me because they can all wear the same outfit. But it can be like a Santa Fe opera costume shop, size of like, 80 people, because that's what I picture. That he's like the token peasant working at this large costume shop, which is really meant as, like, a love letter to all the great costume shops I've worked at, because I think they're the funniest, smartest people. And if you get this, a sewing machine next to the right person, it's like just the best experience, getting to sew all day and chat. So that's how I picture that aspect of this world. But then I also have these reliquary ladies, which I saw you've posted to your account, these reliquary busts that are at the Met Museum. And I've just loved them forever.

[B]

Photo Real, almost depictions. Right. So they're so beautiful.

[A]

They're so beautiful. And they are so helpful to help me talk about these absurd aspects of Catholicism, because they're always discussing, like, Catholic relics. And they're just like, their job is to hold body chunks of dead people. And I think that's the funniest thing. Like, they're these beautiful sculptures who exist to hold fragments of skulls. I mean, that whole practice is so. Because I grew up with that being normal. And then you take a step back and you're like, huh, I don't know. If I didn't grow up with that, if I would see that that way. So I love having them. It's their day job. Like, we work in the side aisle of this large cathedral holding dead body chunks.

[B]

I'm, like, cracking up just to think about these, like, chatty cat, these gossip queens who always kind of have a little bit of a chip on their shoulder, which makes sense because they're made of wood.

[A]

The chip. Was your relic stolen? Yes. The lower jawbone of St. Catherine. That's right. You're handling this so professionally. Well, you know what they say about stolen Catholic relics, Bridget. You know those men use the most backwards logic. Well, I just overheard some priest talking about the robbery, and it made a lot of sense. They say a saint's relic can only be stolen if the saint allowed it. Exactly. And if a saint didn't want their relic stolen, they could just miraculously make it too heavy to move. Which St. Catherine did not. I mean, if she had the power, she could have at least tripped him on the way out. How about a little Catholic guilt? Whatever happened to that? Or she could have sent an owl on the back staircase. But she didn't. Obviously, her and her God have bigger plans for her jawbone than little old me. No, no, no, no, no. It's not like that. Do you have hopes for what your next relic might be? You know I want something from the Last Supper. Is that bad? No. You deserve it. And it's Pride Month. Good morning, crust. It's a great day to be a bread brother. Mornings are not my jam or jelly. Oh, come on. Stop loafing around. I just woke up feeling hollow inside.

[B]

Just grab one of the new Morning.

[A]

Uncrustable sandwiches, like Bright Eyed Berry or up an apple filled with 12 grams of protein and tons of deliciousness crust.

[B]

What are you eating?

[A]

It's just granola. Not even yogurt.

[B]

No crust, no fuss. Uncrust your mornings.

[A]

Steve Cubine and Nan McNamara's podcast From Beneath the Hollywood sun pulls out a box and gives McAllister a ring, saying, here's something to remember me by. Daryl Zanuck hit the roof. Mary Aster has been keeping a diary.

[B]

This torrid affair with George S. Kaufman is chronicled on a daily basis, talking.

[A]

About the actors and actresses who won an Oscar on their very first film. Get your fix of old Hollywood on the podcast from beneath the Hollywood sign, People will riot. Some people, two people. If I don't mention my children, Gwen and Dwyn, who are these giants, sometimes I'm an unfit mother and I don't engage with them as much as I should. But it's just incredibly funny to me that someone sent me like a three foot tassel, which I like named Dwin and is my child. And then the New York Renaissance Fair gave me an even larger tassel. So now I'm a mother of two and they're very important to me. I'm like, this peasant is a single mother who's just trying to get by. And I don't know, it's as, you know, like it's reacting to what's happening in real time with social media. So I did not think that would be the storylines I was on, but here we are and I wouldn't change a thing. I love my babies.

[B]

I mean, for those who haven't seen Greedy Peasant, it's like a medieval peasant in a 21st century world, kind of. He does, yeah.

[A]

Yeah.

[B]

But he still lives in the medieval era, right? The medieval queer fever dream.

[A]

Sometimes I explain it by like, he lives in medieval New York. So he lives in this like Gothic revival world because in New York there's so much Gothic revival architecture. So he lives in kind of this like the imagination of those, like, Americans who built all these like apartment complexes and churches and infrastructure. That's like very medieval looking.

[B]

I like that he lives in the imagination of medieval New York. I think that's a perfect explanation.

[A]

Explanation. It's more that than like, I'm in London in 1423.

[B]

So we of course have to talk about Greedy's relationship to fashion because we're a fashion history podcast. And I mean, he is a bona fide clothes horse and arguably the supreme medieval fashion icon, which for a peasant who is by definition part of the lower classes is no small feat. And to say that he's obsessed with sleeves and tassels, as you've already referenced, is an understatement. There is a tassel gallery on the website. People send you tassels and you are so kind as to upload them to your gallery, which is amazing.

[A]

Thank you.

[B]

And of course there's the 12 sleeves of Christmas. I mean, there's so much here to unpack. But maybe you can just tell us a little bit about Greedy peasants relationship to dress.

[A]

Yes. I remember reading somewhere that like medieval times was unique in Western fashion because menswear was either equal to women's fashion or even more opulent, flamboyant, extravagant.

[B]

Yeah.

[A]

And growing up with 1990s men's fashion in Arkansas, which could not be more boring. Hot take. But it was like, wait, like the. The men were the dressers. I loved that. And then you look at the paintings and it's. Yes, they were saying so much with what they did. Whereas now you see a group of world leaders and they're all just wearing suits that are very conservative. But you look at these paintings of those medieval figures, and, yeah, you can see so much. So for me, it just gave me permission to kind of like, if you're not trying to match that energy, you're not doing medieval.

[B]

Right.

[A]

You know, and so my outfit is like these huge sleeves, these leggings, these heeled boots, a little beret. And at this point, I feel, yeah, that's jeans and a T shirt. Like, that's. That's where we're starting. So then when I get to make a medieval pageant costume that's so much more opulent and is inspired by all of this medieval artwork, it just feels normal. Which is so funny because in my day to day life, I'm not dressed like that on the New York subway. I would be way too shy. But stepping into that, like, medieval masculinity gives you such freedom to explore and add ribbons and tassels and sleeves. And I wish that feeling could grow within men's fashion because it just still feels so conservative.

[B]

Yeah. And things are certainly changing, and there's certainly people that challenge that directly. Right. And we've done. Our listeners will know multiple episodes on, like, gender bending fashion and moving beyond the gender binary and fashion. Right. And I'm glad you actually mentioned medieval masculinity, because one of your tiktoks that went viral is you countering that narrative by saying, you know, people saying, oh, I wish men would return to being men. And then it's like, okay, but. And we've talked about this on the show too, but which man? Exactly. Because as we know, gender changes. It's a construct. It. What it means to be a man, what it means to be a woman has changed exponentially over time. And so in your TikTok, you're like, okay, well, look at this manly man with his long hair, you know, his form fittings, silk cross and his tight.

[A]

And these bright colors. That's where.

[B]

Yes.

[A]

I don't have, like, the right succinct way to explain it. A lot of it, I think, has to do with, like, movie depictions of medieval times that we watch, and they're usually styled as, like, very masculine, very modern masculine. They're very, like, neutral colors and tough, and they're all fighting, covered in mud and bearded. And it's very like when men were men. But when you actually look at medieval artwork and even the armor, it's so flamboyant and colorful. So our perception of medieval times has been warped, you know, by, like, popular pop culture, things which I love and enjoy myself. But I have to remember, like, that's not accurate to the actual times. That's not actually how medieval men dress. That's kind of like what we can handle. Because if a modern actor wore something, like, slightly outside of the norm, like, people would be distracted, which is a shame.

[B]

Yes. Which is why Greedy Peasant is providing this service to all of us by saying, like, actually putting a mirror up to what we think we know about history. Because even if it is, you know, a mythical, imaginative world, there is a lot of truth to what you are saying and presenting. And Greedy Peasant is actually making a major intervention in historical storytelling and how history can be approached and told, especially for this social media generation, where you need young people to be inspired by history.

[A]

Yeah.

[B]

And to question history as well.

[A]

Right. Yeah. And I'm curious. I mean, you know more about this than I do. But also, like, when you think of medieval times, it's, like, very, like, bare and stark and stone, but it actually was filled with textiles. They just don't exist anymore. You know, textiles depreciate or are damaged or lost, whereas the stone remains. But it's good to remember those spaces were softer and more colorful and more beautiful than just a stone chamber that we now read as, like, masculine and tough. I'm not anything wrong with masculinity.

[B]

There's not one. Masculinity.

[A]

Yeah.

[B]

That's the point. Right. It's a spectrum. Gender is a spectrum.

[A]

And then you have people, like, wearing these fabulous textiles within those rooms. So it was just, I think, different than what we've been taught as far as assumptions.

[B]

Yeah.

[A]

For these spaces. And it's way easier to imagine this bold, queer imagination within a space like that versus, like, the medieval torture museum, which seems to be what people associate. Like, how did they kill people in the worst way. Oh, God.

[B]

Yeah. Yeah, yeah. And actually, I don't think I've told you this, but your episode is a companion to an episode we're doing on Tuesday on the Book of Fashion, which I don't know if you've heard of that book. Have you had or have covered that book in your book club, because that might be appropriate for greedy peasants book club. But it's everything we're talking about.

[A]

Yeah. When you mentioned it, I bought that book immediately, within 10 minutes. And now I have it and I've moved hovels, so I've had to save that for later date. But just flipping through it, I'm like, yeah, the work is already done. I don't have to make this up. It's better than anything I could imagine what people actually wore.

[B]

Yep. And a testament to that flamboyant masculinity of the, you know, 15th, 16th, 17th centuries. Right. And it really. And our listeners will know this, and I will not go off on a tangent, but that really did not start to change until the 1800s. So there's thousands of years of men safely, proudly, happily participating in fashion without it being the ear of society.

[A]

So.

[B]

But I digress because I do have to talk to you about Sleevemas.

[A]

This time of year, I do get so nostalgic for the sorrowful times and for sleeves. Sleevesmas is a time to look back and remember the new sleeves we've met the trusty sleeves who've stayed by our elbows. And for the senior sleeves, sleeves who are on their last leg or arm. For this is what sleazemus is all about, overthinking everything.

[B]

What is it about, greedy peasant and sleeves and who is making all of these clothes?

[A]

Yes, my answer is that I can sew, but I'm not a great sewer by any stretch, especially compared to our friends who work in theater who are brilliant. So I was like, I had a time during the plague where I'm like, I could do some sewing, but please don't let me, like, bite off more than I can chew. Let me start with sleeves. And that was kind of a good way in of me. Like, if I could make 10 sets of sleeves, that would be better than me, like, starting a big tunic project that I never finish. And I always remember learning, like, in medieval times, they would change out their sleeves. So I'm like, to have one tunic that I could just change the sleeves on would be historically accurate and fit my sewing skills. So I thought it was. It was a little bit of laziness of just, like, what's the, like, quickest part of a garment? The sleeve. So that and hats are kind of my go to, like, with my attention span, I guess, is what I'm trying to say. Like, people who do these, like, historically accurate garments are like my heroes. But I know I just, like, lose steam, you Know, well, you could have.

[B]

Fooled me that you are not a good sewer, because especially the Sleeve Miss images are like art in of themselves. The photographs that you took for the 12 days of sleeve Miss are insanely beautiful.

[A]

Thank you. They are. There's such a good, like, check in at the end of the year now where I'm like, get to see what's happened over the past year, because the social media, it's, like, moving so fast that it is so fun to be like, let's just have a moment of glamour to, like, end the year. And, like, men's sleeves are tubes. Like, they're just tubes at this point. And I'm like, to do anything beyond that is exciting to me. So. And then to make this challenge, 12 sleeves in 12 days just felt. Felt correct. Even though it's ridiculous.

[B]

We're here for it.

[A]

Thank you.

[B]

Does Greedy Peasant know that there is a sleeves exhibition opening at the Museum at Fitness in December?

[A]

No.

[B]

Created by Colleen Hill.

[A]

Amazing.

[B]

An exhibition dedicated exclusively to sleep.

[A]

Oh, I'm there. I'm there. With sleeves on.

[B]

Let Greedy know.

[A]

Yes. Oh, that's fabulous.

[B]

Can you tell us a little bit about greedy Peasants fascination with tassels?

[A]

How much time do we have? Because that is the topic that I didn't expect. That was another thing where, like, when I started this journey, did not think tassels would be the symbol, and I'm so glad they are. I liked them, of course, because as a costume designer, if you can make it to the point in the garment where it's done, it's fitted, it's ready, and you can put a tassel in there, it's the final embellishment that's the best feeling. I don't often make it there, so I have would have all these tassels in my collection. It's like, when am I going to use these? So I made some videos with them, thinking, like, the joke was that tassels don't have much depth, which I like. Do not cut that out, because now I'm eating my words. Like, now I have this whole appreciation of how they're, like, in every culture on every continent and an art form.

[B]

And making them in and of itself.

[A]

It's a range within them. I know I'm, like, speechless talking about tassels.

[B]

I mean, this is no surprise to me. Greedy Peasant loves tassels.

[A]

There are no time for jokes, for we must count down our top 18 tassels at the Boston Museum of Fine Arts, beginning with this Assyrian relief Tassel from around 870 BCE and this copper warrior tassel from the Benin kingdom in the 16th century. And this 18th century French salon panel tassel. And here is a bodhisattva Maitreya tassel from Pakistan in the late third century. I do love this baby carrier tassel made in borneo in the 20th century. These wall lights with tassels were made in England in the early 1800s. When I saw this doll's house from the Netherlands, I knew there had to be a tassel in there. And there you have it, a curtain tie back tassel to scale. Apparently instruments are a great place to find tassels, including this arched harp from Burma, this Kokyou bow from Japan, and this in blown flute from Sudan or chad in the 19th century. These Chinese altarpiece tass from 593 AD. This stunning bandelier bag with tassels was made by a Lenape artisan in the 20th century. And I do love this greyhound carousel figure sporting early 1900 Provincetown Tassels. When is it? And look at this giant tassel on this Roman sculpture from the late 1st century BCE. This Greek jar has two handles and at least two tassels from 480 BCE. These two tassels here were sculpted in China around 1200 and are worn by a bodhisattva of compassion. On this Italian lectern, you're going to find some 18th century embossed tassels. And at this point I was getting hit by some museum fatigue, but I could smell more tassels. And I did find this beautiful little Gothic gallery.

[B]

Where are the tassels?

[A]

And here they are from Spain in the 1590s. What a great day for me and for tassels. I love that people now are finding them in their daily life. And it's kind of like they've always been there. But I myself will like, notice them in rooms that I've been in before because somehow they're like such an opulent ornamentation and yet you can just kind of glance over them because they're not.

[B]

Like, functional and not a part of like, our visual parlance very much today at all.

[A]

No.

[B]

So kind of like left to history until greedy has brought them. Greedy peasant has brought them back for us.

[A]

It's that within, like fashion, but somehow they've like really made a name for themselves within, like, upholstery and true. So like, I go to Target and I'm like, I can see tin tassels, which does feel strange that they're on a lunchbox at Target and they're also on, like, an Assyrian sculpture at the Met Museum. I just. And then the literature about it, it was kind of a joke. Oh, a book about tassels. And then you start reading it and you're like, no, this is necessary. We need it.

[B]

This is so fascinating.

[A]

And people send me tassels to a PO Box now, and I never know what's going to be in those packages. I'm guessing they're a tassel, but I have no idea what kind, what medium, what's the story? It could not be a nicer gesture.

[B]

And Greedy Greedy Peasant does these fabulous unboxing videos, and they're.

[A]

I mean, I like. I turn it on the. I turn the camera on and unbox it. I'm not acting because people have accused me of acting, which I would never do because, yeah, I'm like, I want to share it with. With everyone. Like, how fun is it? I can't say thank you enough to everyone because it's like, it is this community that's, like, making this happen just as much as I try to. So, yeah, like, someone sent me the biggest giant yarn tassel, and I. I love it.

[B]

And like I said, do you have a tassel gallery on your website? Which I'm sure is. It's kind of your thank you to the people who send it to you as well. Just that you. These are like the pride and joy.

[A]

Yeah.

[B]

And synonymous now with the greedy peasant.

[A]

I know, which was not the plan, but I'm so happy it is. And I have them displayed on a wall like I'm enjoying them, but I wanted to have an archive so people could find the tassel that they've sent or look for inspiration. But, yeah, I used to think like, oh, I'll just remember who sent me what, thinking it would be eight total. And now I'm like, now there's a spreadsheet. There's documentation.

[B]

Well, like I said, you've moved so many people in so many ways. And I think especially during the hardship of the pandemic when, you know, there was so much uncertainty and so much horror happening around the world. Right. We needed a respite. Bridgerton.

[A]

Yeah.

[B]

You know, was one of those things that came out during the pandemic and people just needed that fantastical respite. And Greedy Peasant is another example of that. It was like we needed joy.

[A]

Yeah. I'm so glad.

[B]

And you've become. Yeah. A beloved figure. And I am so glad and grateful for you and for greedy peasants. So thank you.

[A]

Oh, thank you. I mean, it was Just as necessary for me because, yeah, I was, like, working in theater and the arts, which kind of all went on pause. So, yeah, to have an outlet that other people could connect to, it was, like, mutually beneficial. It was no hardship is what I'm trying to say. I benefited as well, and. Yeah. And that we get to connect. I just feel so lucky that I've gone to talk to, like, medievalists who I thought were contacting me to give me a cease and desist letter. And it was the opposite. Like, they're so welcoming and informative and. Yeah, it's been such a special experience. Yeah.

[B]

And such. I mean, for me personally, as a fashion historian who does not specialize in medieval fashion history, but it's given me an appreciation of it in a way that I hadn't had before, and I see things now that I haven't. And it's, like, showing up in my feed now, especially because I've been researching you, but there was, like, a list of medieval dog names that showed up, and I was like, oh, I should share this with Greedy Peasant. But so, yeah, it creates a sense of awe as well as a sense of community. I mean, it's just. It's really wonderful. So, Tyler, thank you so much for being here. Just in closing, can you tell people where they can find Greedy Peasant and also how they can support your work for. To keep Greedy Peasant happening for future generations, well into the future?

[A]

Yes, thank you. I. It's on. TikTok is greedy peasant and Instagram is greedy dot peasant. And I want to plug the Patreon because that's really what supports all of this costume making and everything. People think I have, like, a secret real job, but I don't. It's this now, which is the best job.

[B]

I love that.

[A]

Yeah. And it's supported by the Patreon, so it's, like, super generous. It's a subscription service. If you don't know what Patreon is, you can pay like, $3 a month. And then I make these extended exclusive videos. So recently it's been more, like, costume focused. We made a medieval beekeeper outfit, and then this month I made a headdress inspired by. Inspired by Marlene Stewart's costume design for Too Wong Fu the movie. So on those, we get to do, like, deeper dives and they're longer videos. So if you're interested, the Patreon's, like, fun to check out. And there's a store. I never thought I'd have a store. So you can buy, like, there's art prints and stickers. And yeah, I hope I want the website to just be a fun place to click around and look at it's super fun. Castle archive, maybe buy a sticker. Whatever you want to do.

[B]

Yeah. And thank you so much for being here. Please extend our thank yous to Greedy Peasant as well. We're very much looking forward to all of the upcoming videos and we will definitely stay in touch.

[A]

Yes, thank you so much Tyler.

[C]

Thank you for joining us today on Dressed. I hope our listeners who are not already following the Greedy Peasant do so immediately @ greedypeasant on Instagram and TikTok. And we will of course provide links to Tyler and Greedy's work in our show notes, but I think that does it for us today. Dress listeners, may you consider bringing your historical fashion fantasy to life next time you get.

[B]

Dressed. And may you also consider joining us in New York City this December for one of our Fashion History Day tours. Dress listeners, you can send us an [e-mail] for more information or direct message us on Instagram at Dressed.

[C]

Podcast. Instagram is also where you'll find images and reels accompany each week's episodes. If you want to find the Instagram content specifically connected to this episode, check out the hashtag dressed319 that's dressed and the numbers 31 9. And also remember, you can now listen to Dressed ad free for just $3 a month. If you would like to subscribe to our exclusive content to receive the ad free version of Dressed in your feed, you can check out the link in our show notes and also in our Instagram link tree. If you have a moment and you would like to take the time to rate and review us on your podcast listening platform of choice, we always appreciate your support. More Dressed coming your way on.