![]() Juxtaposing Punk DIY with romantic fairy-inspired looks. ![]() Wild hair, whether teased, curled, dreadlocked, or dyed.Winklepickers, velvet/suede platforms, and ballet flats.Jewelry that revolves around nature, like flowers and animals.Light layering (such as mini dresses over long skirts).Faded pastels (ie pale pink) and neutrals such as ivory, grey, and black.Jewel tones such as dark reds, deep purples, navy blues, and moss greens.Gothic Lolita-esque skirts, usually with petticoats underneath.It’s also inspired by Shakespearean figures and Greek gods. Often resembles dark or ghostly types of Fae, but with a punk and Goth twist. The Woodland Goth aesthetic tends to feature darkly dream-like, sometimes natural imagery, such as: But while Hippie Goth is often just boho clothes with dark colors and makeup, Woodland Goth tends towards Pre-Raphaelite influences and color schemes as well as the distinctive use of brocade, velvet, and glitter. Styles used by certain Woodland Goth-type bands helped to originate 90s Hippie Goth and Romantic Goth. The influence of this then-nameless movement-within-a-movement has persisted in literary, artistic, and musical works up into the modern era and on social media. ![]() In books, Terri Windling’s Borderland anthologies and Emma Bull’s War For the Oaks were overtly a hybrid of fae mythology with proto-Goth imagery. In art, Brian Froud adopted gothic visuals for the movie Labyrinth. The literary influences came full circle as the fey side of the Goth scene began to influence the fantasy, fairy tale retellings, and urban fantasy of the day. Danielle Dax potrayed Wolf Girl in The Company of Wolves, based on Angela Carter’s The Bloody Chamber. The album covers and music videos of 4AD’s This Mortal Coil featured ethereal, often forested imagery. Meanwhile, Bauhaus wrote the song “Hollow Hills” in reference to Brian Froud and Alan Lee’s Faeries. (Even going so far as to filming their own version of Alice in Wonderland.) The major purveyor of this in the 80s, both lyrically and visually, was Siouxsie and the Banshees, who moved from grotesque Steven King fare to the more mystical and dream-like in songs like “Spellbound”, “Red Over White”, and “Green Fingers”. In Britain’s Batcave scene (and the rest of Europe) it was even more pronounced, focusing on Grimm’s fairy tales, haunted woodlands, and a fixation on Celtic or Nordic lore. In America, this can be seen in Deathrock’s fixation on Greek myths, ghosts, and angels. It has been recently revitalized by Internet culture, but has actually existed as a facet of Goth music and fantasy literature/film since the 80s. The visuals used in non-Goth dark romantic aesthetics such as Dark Mori Kei are also similar. It’s also important to note that unlike Fairy Goth (on GothTypes), it’s not a cosplay-centric style and actually features modernized clothing. In basic terms, it’s a hybrid of fey imagery, Glam Rock glitter, and the lighter side of 80s Goth.Įlements of Woodland Goth are similar to Goblincore, Fairycore, Cottagecore, Trad Goth, and Romantic Goth. It can be considered a lesser-known, typically nameless facet of Goth (most commonly found in ethereal wave) which was and is rife with the imagery of fairy tales, folklore, poetry, ballet, and mythology in contrast to the stereotype of vampires, zombies, and horror movies. Woodland Goth is an aesthetic that combines dark, romantic elements of Goth culture with light subjects like flowers or woodland animals. “Oh, magic in her hands/She could make anything grow/Magic in her hands/She had green fingers” - Siouxsie and the Banshees, Green Fingers Siouxsie and the Banshees’ “Spellbound” video
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