But he was adored, regardless, for his Christ-like appearance.ĭrawing of Irish soldiers and peasants by Albrecht Dürer (1521). Contemporaries mocked him, speculating that he had a servant just for hairstyling. Just like changes in clothing, the foreign popularity of mullet-like hairstyles chronicled a world of new global connections.ĭürer himself spent immense time hairstyling. His 1521 drawing of Irish soldiers and peasants shows the artist’s interest in hair customs beyond England.
The art of the mulletįor Renaissance artist Albrecht Dürer (1471–1528), the combination of short and long hair was a rather puzzling, exotic sight. The style was associated with people considered rebellious by nature, part of the rhetoric used to legitimise the later use of violence against them. He wrote that “the Savage” wore clothing “like the Irish-trouses” and that Indigenous Abenaki were: “of complexion like our English Gipseys, no hair or very little on their faces, on their heads long haire to their shoulders, onely cut before.”Īt a time when hair was key to community cultures, the mullet was written about with imperial and racist overtones. Winslow connected this early mullet to contemporary understandings of medicine and race.
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