Skarsgård's Wicker Husband Sparks Debate Among Basket Makers

A fictional basket-bodied romantic lead has sparked an unexpected debate among traditional craftspeople after Alexander Skarsgård portrayed the Wicker Husband in the romantic comedy Wicker. The character's unconventional construction has prompted basket makers to question its materials and weaving techniques, while the film's special effects team has defended its creative approach.

The main controversy concerns the character's apparent construction. Some traditional artisans argue that his body does not resemble conventional wickerwork because it uses neither willow nor traditional basket-weaving methods.

The Oxford English Dictionary defines wicker as “thin sticks of wood twisted together to make baskets, furniture etc”.

Social media reactions have also highlighted the character's unusual romantic appeal. One Instagram user commented:

“Never looking at my patio furniture the same again,” the commenter wrote.

Ikea also joined the online conversation by describing an image of its wicker furniture with the phrase “husband material”.

Deborah Needleman, a former editor of the New York Times's T magazine who became a basket maker, was among the first craftspeople to challenge the character's design. More than 100 fellow basket makers subsequently contributed to the discussion.

“I’m excited that the basketweaving community now has our own hot, woven leading man, but I’ve also got issues. Why is a dude woven in an English fishing village not made of willow – or even rush?!” Needleman wrote on Instagram.

Eleanor Morgan, trade adviser to the Worshipful Company of Basketmakers in London, offered historical context about the terminology. She explained that willow has traditionally been associated with wicker, although its use has become less common.

“Historically wicker could have meant any pliant twig or osier,” Morgan said.

Lewis Prosser, a basket maker from Cardiff, said the character's construction differs from the methods he would normally employ. However, he emphasized that alternative approaches should not automatically be considered unsuccessful.

“It certainly isn’t the way I would have done it, but that doesn’t mean that it is bad,” Prosser said.

Prosser also explained that definitions of wicker vary among practitioners, particularly when distinguishing traditional basketry from textile construction.

“An object that is woven but one that is specifically not textile,” Prosser said, describing his understanding of wicker, while acknowledging that “some will disagree with me”.

He identified three principal basket-making techniques: coiling, which winds plant materials into spirals; braiding; and stake-and-strand basketry, which involves weaving vertical rods through horizontal strands.

“What we would traditionally call ‘wicker items’ would usually have that latter aspect,” Prosser said.

According to Prosser, the Wicker Husband does not follow that traditional construction method. He also argued that a film set in a specific geographical location would benefit from materials reflecting its natural environment.

Willow would be appropriate for a British setting, he explained, while esparto grass would better represent Spain's traditional plant materials.

Joe Dunckley, a prosthetic designer at New Zealand's Wētā Workshop, explained the technical challenges behind creating the character. His team produced the upper body worn by Skarsgård for the film.

“Big challenge,” Dunckley said, describing the process of designing a costume for a character who is conscious but constructed from wicker.

“Most prosthetic materials are soft to mimic skin. But he’s not flesh and bone,” Dunckley explained.

Working with 80 specialists, Dunckley's team developed 50 interlocking body components for the actor. The pieces used a rubber-like thermoplastic elastomer and a custom 3D-printed weaving pattern attached to a spandex suit.

The production process lasted 18 months and included the creation of 10 facial appliances. Dunckley explained why natural willow was unsuitable for the costume's practical requirements.

“It is a similar reason to why, in film, we don’t make armour out of actual steel or use real swords. This is a fantasy film,” Dunckley said.

The design team also used a 3D cast of Skarsgård to preserve the actor's recognizable facial features when translating his appearance into basket form.

“Audience would be able to recognise Alexander in basket form,” Dunckley said, describing the central objective of the modeling process.

He also highlighted the importance of recreating the actor's distinctive facial expression through the costume's woven structure.

“Skarsgård smoulder,” Dunckley said, referring to the expression that the designers reproduced by allowing the material to form furrows around the brow.

The character's hair, beard and eyelashes were made using muka, fibers derived from New Zealand flax.

Dunckley welcomed the response from traditional craftspeople, recognizing that experienced artisans would naturally assess the fictional design against established techniques.

“Really cool,” Dunckley said, describing the attention and criticism from the weaving community.

“I don’t blame anyone. True artists of the craft have dedicated years to it. I would expect them to look at a fantasy version of their art form and see failings in it,” Dunckley added.

Morgan also pointed out that the film contains numerous traditional basket-making scenes, offering material for viewers who prefer conventional willow craftsmanship.

“There is no lack of osier-related eye candy,” Morgan said.

Prosser welcomed the increased attention because some traditional basket-making skills and techniques face the risk of disappearing. Online platforms, particularly TikTok, have also become sources of tutorials for creating wicker costumes.

Skarsgård previously described the costume's nipple components as the “best part” of the outfit. He also gave his own pair to television presenter Graham Norton, describing their construction as “extraordinary craftsmanship”.