We’re finally back to our lotr costume project, and this time we’re tackling Éowyn’s white wool gown, that according to designer Ngila Dickson was made to represent her as the “White Lady of Rohan”.
Above: The White Wool Gown. Scene from TTT. Screencap by me.
In the movie, Éowyn wears this gown while crying at Théodred’s bedside, after telling her uncle he is dead. This is one of the savviest costume choices in the entire trilogy for Éowyn, since white was a “color of choice” for royals in mourning in medieval and early modern Europe. The most iconic example that comes to my mind is MQoS.
Above: MQoS in white mourning after the death of her father-in-law and her mother. Ca. 1560. Note that her husband, the dauphin, was still alive, so she was not a widow mourning for her husband at this point yet.
I also think this is a great choice for this moment because the first time she’s called “White Lady of Rohan” in the books is by Faramir in the Houses of Healing, which is very logical, since she has just lost her uncle at that point, and she’s - likely - about to lose her brother, who’s riding to the Black Gates. In the movies they tackled the idea by making her wear a simple white kirtle, that looks like the medieval fantasy equivalent of a hospital gown. But it’s also fairly easy to imagine that some lady who might have stayed in Minas Tirith might’ve lent her a white dress, since she rode to Minas Tirith like all the Eorlingas - with only her clothes and armor.
The White Lady Gown has the exact same cut as the Beacon Gown, except for the sleeves. Both dresses seem to have been modelled after the 15th Century kirtle pattern in “Patterns for Theatrical Costumes” minus the princess seams - bonus points for historical accuracy there.
The sleeves, however, are trickier than they seem. Here is why:
Above: The Gown itself. Check the sleeves. Source: LOTR Costume Site.
See the cute way in which they drape? That’s called Waterfall Draping, and it requires a little bit of draping notions to make it happen. You see that technique also in Mina’s mint green “Meeting Dracula” Bustle gown in “Bram Stoker’s Dracula”. (It’s the mint green dress in the right corner on the pic below, in case you’ve never seen the movie and have no clue what I’m talking about.)
Above: Waterfall draping on the back of Mina’s bustle. Screencap by me.
Now, waterfall draping can be intimidating for a relatively newb at sewing like myself. It really bears a resemblance to rocket science the first time you have to plan the drapes and project them on your pattern. But it’s easier than it seems. Basically, you have to plan ahead how many folds you want your sleeve to make, and plan the shape in which the drapes should fall. Draw the drapes all together as a sequence of zig-zagging triangles, all of them departing from or arriving at the same line, which is the sleeve center back length. Then, you project these drapes as triangles stemming from the same point in a series of concentric circles until you reach the total height of your sleeve at the longest point (center back in this case). Sounds like I’m babbling? Hell yeah, but it makes sense, I promise. The final shape you get is a bell-sleeve with longer and finer back. If you want the same effect from Éowyn’s sleeve and Mina’s skirt, cut your lining with the exact same pattern and sew them together before attaching them to the dress bodice. That way they’ll drape in the same manner and the lining will turn outside at the folds as it should.
Above: Sleeve with lining attached. Photo by me.
Once we finished getting the sleeves ready, we attached the front and back of the dress together, and started working on the collar embroidery. More about that next week!