Alexander Skarsgård’s portrayal of a sentient wicker character in the new romantic comedy "Wicker" has sparked an unusual wave of discussion—especially among basket makers and craft enthusiasts. The film, which features Skarsgård as a humanoid figure made of wicker, has drawn attention not only for its premise but also for the materials and techniques used in crafting the character’s costume.

The production, created by Wētā Workshop in New Zealand, faced significant challenges in bringing the Wicker Husband to life. Joe Dunckley, prosthetic designer at Wētā, explained that traditional materials like willow were not practical for the design requirements. Instead, the team developed a complex costume made from 50 interlocking body pieces, which were 3D printed using a thermoplastic elastomer over a spandex suit. This approach allowed the creation of a flexible yet durable weave that could mimic the appearance of wicker while enabling Skarsgård’s movements and expressions, including the ability to furrow his brow, a feature dubbed the “Skarsgård smoulder.” The character’s hair, beard, and eyelashes were crafted from muka, fibers sourced from New Zealand flax.

While the film generated online excitement—social media users and furniture brands weighed in with amusement—the basket weaving community’s response was more nuanced. Some experts and artisans voiced concern that the character's weave differed from traditional wickerwork. Deborah Needleman, a basket maker and former editor of the New York Times’ T magazine, expressed enthusiasm about the spotlight on basket weaving but criticized the use of plaiting rather than weaving and the absence of traditional materials like willow or rush, especially given the character’s setting in an English fishing village.

Trade adviser Eleanor Morgan of the Worshipful Company of Basketmakers in London noted that historically, “wicker” referred broadly to thin flexible twigs such as willow or osier. However, she acknowledged that willow is less frequently used today. Another basket maker, Lewis Prosser from Cardiff, emphasized distinctions between various basketry techniques, noting that traditional wicker typically involves a stake and strand weaving method, which the Wicker Husband's costume does not replicate.

Prosser also pointed out that the film’s fictional setting, despite featuring British dialects, is not explicitly England. He argued that if the film presumed a specific locale, it might have been more authentic to incorporate regional plant materials, such as willow in the UK or esparto grass in Spain. The character played by Peter Dinklage, a basket maker within the story, presumably draws from global craft traditions, adding to the costume’s diverse influences.

Despite some purist criticism, the film has reignited broader interest in basketry, a craft that many consider endangered in certain regions. Prosser said he welcomed the attention, noting a surge in online tutorials and costume-making guides on platforms like TikTok. Skarsgård himself has praised the craftsmanship involved in his suit, even gifting replicas of intricately woven costume elements to television host Graham Norton as a testament to their artistry.

Dunckley characterized the feedback from basket makers as “really cool,” understanding that true artists of the craft might scrutinize a fantasy interpretation. He framed the Wicker Husband as a creative departure rather than an authentic representation of traditional basket work, similar to how fantasy films often eschew real materials for practical or narrative reasons.

Overall, the film’s costume design bridges art, technology, and traditional craft, generating both admiration and debate within the basket weaving community while capturing the imagination of audiences worldwide.