Skip to main content

Creating Middle Earth. The Lady of Rivendell. Part I

The magic and allure of Middle Earth, as a reader, always has been the fact that you can immerse yourself into this world to the point that it feels real. Everything Tolkien wrote, is so detailed and carefully crafted that every character, race, culture and location comes vividly to life in the reader's mind with spectacular clarity. Managing to capture this realism, this carefully constructed illusion that Middle Earth had existed at some point in time, was, undoubtedly, the biggest challenge Peter Jackson faced when he decided to adapt this corner stone of fantasy literature.

Every race, every character and every location needed to feel real, needed to feel like it had lived, like it had a history. And how do you do that? Through production design, photography... and costume design.

We are going to focus on that last department and the various ways in which costume helps bring this world to life. On our first entry we looked into the designs for the Rohirrim through one of the many Éowyn designs (read here), but Middle Earth has many cultures, and many races and this time we will turn our gaze to the fair elves of Rivendell.

Rivendell, the Elven city nested under the Misty Mountains, is the Last Homely House East of the Sea. It's protected by Lord Elrond and the power Vilya, one of the three Elven Rings. It's a place of peace, isolated from the problems of the world, where the otherworldly elves delve.

But behind their beauty and splendor lies a sad truth that impregnates the place with a strangely lethargic melancholy: their time is ending. The time of the elves is coming to an end. They will soon leave Middle Earth and embark to the Undying Land. And so, their light is the light of a dying star.

And if there is any character that better encapsulates that spirit is Lord Elrond's daughter: Arwen Undómiel, the Lady of Rivendell. Because of this, we will examine how they created the Elven culture through the designs of Arwen herself.


Arwen Undómiel, youngest child of Elrond, Lord of Rivendell, and Celebrian, is the half-elf that captures the heart of Aragorn, rightful king of Gondor. Her character played a very minor role in the books (and was basically developed in the appendixes), but the movie played her up, which allowed us to enjoy her many gorgeous costume designs.

Today we will be looking at her "chase and angel" gown, which is the one she wears the first time we meet her character in The Fellowship of the Ring. Even though these are, strictly speaking, two dresses, I prefer to look at it as one gown with two facets.

Why? Because these two dresses are two sides of the same coin: they both represent different sides of the Elven race. Which makes sense, because the first time that we see these costumes is not only the first time the audience meets her character, it's also the first contact we have with the Rivendell elves.

Actually, the first image we have of her is this radiant apparition as she meets with Aragon and the Hobbits to help Frodo (who has just been stabbed with a Morgul blade). She's wearing the "angel" gown: a white, sparkly gown that floats around her as some sort of aura.

It's important to highlight that this look is, within the context of the narrative, and illusion, a mirage. Which explains the otherworldly feel that it has. It's how mortals perceive the mighty, immortal elves. What this design is trying to capture is the light within her, because, as she approaches the group she shows herself as an angel sent to help them.

This design captures perfectly the perception that the other races have of elves: they are above everything; creatures made of light that float above the rest. Because of this, design wise, this gown is the most fantasy-oriented (or the least grounded) costume she ever wears.

The design doesn't take from history, as Eowyn's design did, but from the western iconography associated with angels: white, simple clothing that floats ethereally around them as if gravity did not affect them. Which is a logical thing to do, given the scene and what she does; basically, saving Frodo.

The Guardian Angel by
Pietro da Cortona (17th century)

To create this ethereal feel, the designer used semi-translucent materials woven in with metallic thread (so that it would easily capture the light and create the effect that it emitted light) and also gave the dress a long, flowing train and a very loose tailoring, so to give the impression that it floats around her.

This is a very mystical design, and it's mean to be. Especially because, as the illusion disappears, and the character is revealed in its true form, it creates a contrast between illusion and reality that helps define the Elves themselves, as well as the character.

The "chase" gown, which is what she is actually wearing within, is quite the opposite of the "angel" gown, and consists of a light grey leather jacket decorated with Elven motives, a large silver buckle and a light grey, silk petticoats.

This design manages to balance out the elegance and grace of her race and the practicality and energy of her character. And it's through that practicality that we are able to see her unique connexion with humanity that she has through her relationship with Aragorn, which separates her from the rest of the Rivendell elves.

At first glance, the gown might not seem very practical, but when compared to how the rest of the female elves are dressed in the saga, you realize that this costume is akin to a tracksuit for the Elven standards. It certainly allows her to ride and move with a freedom which the rest of her wardrobe doesn't allow.

Similarly to the "angel" gown, the "chase" dress does not take from any particular historical influence. Actually, this is a constant for all the Elven designs. Instead of taking from history, as the Rohirrim designs do, they take their influences from pictorial art, which helps create that otherworldly feel of their race.

And the biggest artistic influence on their designs is, undoubtedly, found in art-nouveau. Especially on the motives used. Art-nouveau focusses a lot around nature, taking inspiration in plants and flowers amongst others. And so do the elves. It actually makes a lot of sense; this is a culture that is in touch (and harmony) with nature. They cherish all living things. And what better way to showcase this than integrating the natural world in their architecture and clothing.

Detail from a work by Alphonse Mucha

Notice how Mucha weaves the flowers into a visual motif and, most importantly, how simple the lines are in his patterns. Now compare it to the design drawn for the embroidery of Arwen's design on the top right of the picture below. The resemblance is pretty uncanny.

Though where that influence is the most noticeable is on the Elven jewelry. Compare this half-cup bracelet below with Arwen's buckle. The similarities in style are pretty uncanny: both focus on natural elements and the ingrained elegance of simplicity.

Another key element in the design is the color, which helps contrast between the illusion (white) and reality (muted grey). A contrast between their role as guardian angels of Middle Earth and the fact that they, as a race, are in the twilight of their lives. The contrast between how humanity sees them (creatures of light) and how they see themselves (they are tired of their immortal lives, they don't have the spirit to keep fighting). It's in that contrast where we find their true nature.

And that's why this dual design is the perfect design in which to introduce Arwen and her people, as it reflects every facet of both through contrast and detailing.


We hope you like it and we'll see you next time. We don't know what other designs from Lord of the Rings we will be covering yet. This will function more or less the same way that the Padme series works (improvising basically) but if you want to request any specific design from the Trilogy don't hesitate to contact us and tell us!


All the images of the dress used in this article (and many more) 
can be found in the amazing collection of movie costumes 


Popular posts from this blog

Burning Question: What's wrong with Belle's gown?

Since the first promotional pictures of Disney's new Live-Action remake of Beauty and the Beast hit the internet, there has been a lot of discussion around Belle's iconic ball gown. And, even months after its release in cinemas, there still continues to be a lot of buzz around it. Why? Mainly, because a lot of people feel that it is just doesn't look that good.
The thing is, Belle's animated yellow ball gown is, at this point, an iconic staple of animated cinema. Everybody knows it and everybody loves it. And, as a result, everybody can see the new one and say "this is not the costume I know". Therefore, everyone can compare it down to the smallest detail and see that it just doesn't quite look right.
Today, our goal will be to try and dissect the design in order to answer the burning question everyone has been asking themselves: what's so wrong with the "new" dress? Or, to put it bluntly, why is it so incredibly underwhelming?

This might n…

The Huntsman: Winter's War. Untangling the mess. Part II

As we heavily remarked in our last article (click here to read), the Costume Design for the monstrosity that was The Huntsman: Winter's War wasn't really as good as everyone was claiming it to be. And because we are sort of unrelenting in our grudges and hates, we are going to continue hammering down this idea, this time focussing on the true stars of this movie: the two Evil Sister Queens.
So, without further ado, let's get into the madness. IV. FREYA, THE ICE QUEEN That tonal dissonance that we pointed out in the huntsmen characters becomes a cacophony the moment we consider the two Queens in this movie: Ravenna (because how could they do this movie without bringing back the only successful character in the last movie?) and her sister, Freya, who basically becomes Elsa from Frozen.
Before starting, I feel like I need to clarify that my main quarrel about both their designs has nothing to do with if they are pretty or not, which most of them are. But prettiness is not wh…

Creating the Seven Kingdoms. Part III: The Reach

In honor of the return of HBO's Game of Thrones to our screens this past summer, and as an apology for our extended hiatus, we are going to dive back into the complex visual world of Westeros once again. Previously in this series, we've focused on how the North (read here), the Westerlands (read here) and their respective cultures were represented and reinforced through the detailed Costume Design. And, today, we are going to do the same by looking at how Michele Clapton, the Costume Designer for HBO's multi-awarded show, builds the culture of the Reach and the Tyrell family.

The Reach, just like the Westerlands, it's a region that we've barely physically seen on the show until very recently. And, because of it, most of what we know about it has been inferred through their visual style and the sporadic dialogue exposition. Which, in turn, speaks very highly of the incredible work done by the Costume Design Department when it came to projecting information regardin…

Oscars Retrospective 2017: Fantastic Beasts and Where to Find Them

Fantastic Beasts and Where to Find Them is the first of the planned spin-off/prequel series of the Harry Potter Saga and the screenwriting debut of J.K.Rowling, the mind behind the Harry Potter Books.
This new installment is an ambitious attempt, both in scale and in narrative, as it tries to tell both a brand new story with brand new characters and also be linked to the original saga through the character of Grindelwald.
The problem is that this juggling act forces the movie to fit in together two stories that have little to do with each other. On the one hand, there's Grindenwald and the Obscurial's story and on the other, the bizarre adventures of Newt Scamander as he tries to fetch back his creatures. Separately, these two stories, could have made for two entertaining movies, but the problem is that, together, they just don't mix  very well. On top of that, the radical changes in tone throughout the movie only manage to drag the final product further down.

But, despite…

Disney's Cinderella(s) and the evolution of the "princess" aesthetics

Every girl, at some point in life, has wanted to be a princess. It has become undeniable that the concept of the "princess" is, for better or worst, inseparable from girlhood. We live in a "princesses" obsessed era, and we have for a long time now. And a lot has been said about it, with loud people yelling over the internet about the positive and negative aspects of it. So it was about time for us to join the yelling contest, I guess.
If we're going to talk about princesses, the logical place to go is to the Global Mogul Conglomerate that has led the trend and, in many ways, defined it: Disney. They have, undeniably, redefined the fairytale and have turned the term "princess" into a best selling Licensed Entertainment Character Merchandise.

The thing is, even though princesses have been part of the fairy tale canon for a very long time, they didn't become the central figure until Walt Disney placed them there.
In the tales that the Grimm Brothers…