We have a president who calls himself a king, TikTok fashion creators are teaching their followers how to DIY chainmail bonnets, actors are stepping onto red carpets adorned in silver motifs reminiscent of medieval armor, and Pinterest has predicted a new trend for 2025: “castlecore.”

Good enough: Welcome back, the Middle Ages.

The rise of castlecore

It’s clear to anyone paying attention that one of the dominant aesthetics of early 2025 is “castlecore.” Castlecore, also called medieval modern or future medieval, is a design trend — influencing typography, fashion, home design, and more — that combines medieval aesthetics like chainmail and stone architecture with modern comforts like air conditioning and vaccines.

We saw hints of this trend in 2018 when Zendaya wore a Joan of Arc-inspired armor look at the Met Gala. But now, castlecore is everywhere. A notable example of its resurgence is Chappell Roan’s “Roan of Arc” performance at the MTV VMAs, which brought medieval-inspired visuals back into the spotlight. 

If you search for “chainmail” on TikTok or Instagram, you’ll find thousands of DIY tutorials where users are showing how to create their own wearable chainmail — from tops and bonnets to accessories. According to Pinterest, “medieval” is having a “major moment” this year — searches for “Antique ruby ring” increased by 50 percent, for “castle house plans” by 45 percent, for “chainmail necklaces” by 45 percent, and, most telling, for “medieval core” by 110 percent. In its annual trends report, the platform noted, “In 2025, Gen Z and Millennials will take home decor inspiration from ancient castles, while fashion and accessories will be gothic-inspired. It’s a comeback of the highest order.”

“My favorite part about this trend is that it spans across categories, so we’re going to see it primarily show up in home and fashion,” Sydney Stanback, the global trends and insights lead at Pinterest, told Mashable. “We’re seeing things like vintage tapestries, rich dark tones, and natural materials in homes, while medieval silhouettes, chainmail, and antique jewelry are taking over in fashion.”

This resurgence isn’t surprising, as fashion has long drawn inspiration from different historical periods. “But this aesthetic taps into the medieval period with its dark, gothic, and brooding visual language,” Mia Jacobs, a youth fashion strategist at WGSN, a consumer trend forecasting company, told Mashable. “However, this resurgence isn’t bound by historical accuracy; instead, we’re seeing a convergence of references from multiple time periods reinterpreted through a contemporary lens.”

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Technofeudalism, neo-medievalism, and our harsh political reality

At first glance, this trend may seem like another sign of humanity’s crow-like fascination with shiny silver objects. But its rise comes at a unique time politically. As castlecore’s popularity grows, so does the idea that we may be living in the age of technofeudalism and neo-medievalism. Technofeudalism is the idea that the lords and kings aren’t politicians or members of a monarchy but are, instead, tech companies — and neo-medievalism describes a time in which societies are fragmenting, economies are unbalanced, and threats seem always present. Seem familiar?

Kathy Pham, a creator who made a video detailing the connections between neo-medievalism and castlecore, told Mashable that “it’s interesting to see this version of medieval revival happening simultaneously with the decentralization of nations and states,” Pham said, referring to Great Britain leaving the EU in 2020 and President Donald Trump’s isolationist policies.

In his book Technofeudalism: What Killed Capitalism, former Greek finance minister Yanis Varoufakis argues that we are actually already living in a technofeudal state — and capitalism is a thing of the past. He says tech companies like Apple, Meta, and Amazon have changed the economy so much that we no longer exist in a capitalist society but have already begun transitioning into one that looks more like Europe’s medieval feudal system. If we combine his line of thinking with the rise of castlecore aesthetics, we aren’t using medieval aesthetics to escape a capitalistic society; we’re using it to escape a technofeudal one.

In an interview with Wired, Varoufakis argued that profit drives capitalism while rent drives feudalism — and we’ve moved from the former to the latter.

“My argument is that we have progressed forward to a new system, which has many of the characteristics of feudalism, but it is one step ahead of capitalism. To signal that, I added the word techno,” he told the news outlet.

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While castlecore might seem like a fashion or pop culture trend, its timing is hard to ignore. Of course, we’ve seen medieval revivals in the 1970s and 1990s, but with the rise of social media as a tool for fashion and politics, it’s much less colorful and, frankly, much more metal. And, as Pham recognizes, we’re just “seeing a lot more chainmail, silver, armored accessories,” at fashion shows, on red carpets, and online than previous revivals. We tend to romanticize the past when we crave escapism, but it also reflects our broader political and cultural climate.

Living in a neo-medieval world

In a video posted to Instagram Reels that’s garnered more than 50,000 likes, Pham points to a 2023 paper published by the RAND Corporation titled “U.S.-China Rivalry in a Neomedieval World,” which defines the neo-medieval era as “a historical period beginning around 2000 characterized by weakening states, fragmenting societies, unbalanced economies, pervasive threats, and the informalization of warfare.”

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Timothy Heath, a co-author of the paper, told Vox, “The last 200 years in many ways stand out as an incredible anomaly in human history, and that the situation we’re in now actually has a lot more features in common with the pre-1800 world than the recent past.”

The wealth gap continues to widen, the racial wealth divide remains strong, the cost of living surges, wages stagnate, and American politics grow increasingly polarized, with little room for cooperation. Research from the Carnegie Endowment underscores that Americans are emotionally divided, not just ideologically. The rise of this romanticized medieval aesthetic could be our collective attempt to escape this reality. 

“For Gen Z, this aesthetic offers a sense of escapism from the ongoing polycrisis and the anxieties of the modern world as they find solace in historical fantasies,” Jacobs said. Stanback also says the trend hinges on the younger generation, saying they’ve driven trend which “speaks to its online staying power.”

Escapism, fantasy, and feudalism in pop culture

We see this with the historic rise of the romantasy genre, too. According to The Guardian, sales of science fiction and fantasy books increased by 41.3 percent between 2023 and 2024. These books are typically set in mystical times that resemble the medieval era. We’re talking castles, armor, and kings and queens. (Of course, we are also talking dragons and fantasy). 

It’s not just fantasy books. The enduring success of Game of Thrones and House of the Dragon “continues to embed these aesthetics into mainstream culture,” Jacobs said. “At a time when AI and hyper-futuristic aesthetics are accelerating at pace, there’s also a growing counter-movement where individuals are seeking out what’s real.”

Yet it coincides with another paradox: we are living under the thumb of royalty, be it President Donald Trump’s self-declared kingship on Truth Social or Jeff Bezos’s management of Amazon, which bears more resemblance to technofeudalism than capitalism, and his attempts to dismantle the efforts of the free press.

Neo-medievalism and technofeudalism don’t exist in a vacuum, and soon after these economic and political systems re-entered our cultural consciousness, so did armored rings and chainmail bonnets.

“There’s that quote that history doesn’t repeat, but it rhymes,” Pham said. “So there is this sense of rhythm and pattern recognition that I’m seeing across pop culture, but also within our social-political climate. I’m not confident in saying that they’re directly connected, but it’s interesting to see those two parallels.”

We likely won’t be building stone castles any time soon, but it seems we are recognizing that our world is becoming more unpredictable and unstable—and our attachments to this aesthetic suggest a longing for permanence.

Politics and aesthetics have long been inseparable. While Chappell Roan may not have worn her iconic chainmail look as a direct response to technofeudalism or neo-medievalism, can we really say that one exists without the other? Is the rise of medieval aesthetics simply escapism, or is it a product of our current political moment?

Castlecore may just be another fleeting trend, something to match our escapist fantasies. But whether we’re donning chainmail accessories or escaping into romantasy novels, aesthetics are never separate from politics. And in a world that increasingly resembles the Middle Ages, perhaps it’s no surprise that we’re dressing for the occasion.