Aipio Xiao

Who is Glorfindel? A captain and a lord of Gondolin? Sure. We also know that he is blond and followed the Noldor into exile. So: a Noldo, but most likely half-Vanya. No groundbreaking discovery there.

BUT.

In LOTR, Gandalf says that “he is an elf-lord of a house of princes.” (emphasis mine)

It could just be Gandalf being poetic about Glorfindel’s nobility OR it could be meant more literally.

So I have two theories:

1. Glorfindel is the son of a lord close to Fingolfin and of a Vanyarin princess related to Ingwë and thus to Indis, which could explain why he pledges fealty to the second branch of the House of Finwë. Why Turgon specifically, rather than Fingolfin directly or Fingon? Turgon and Glorfindel could have been close in age: two young lords who grew up alongside one another at Finwë’s court.

2. Glorfindel is directly related to Finwë.

In Nature of Middle-earth, it is stated that Finwë was not one of the Unbegotten. Tolkien even attempts to determine the growth of the Elven population before and after the Finding (by Oromë) and the March. He concludes that Ingwë, Olwë, and Finwë were born in the 6th generation, and that the average number of children in the 5th and 6th generations was four.

So Finwë most likely had brothers and sisters, and there is a strong possibility that at least some of them went with him during the March, just as Olwë and Elmo went with Elwë.

It is therefore not impossible that Glorfindel could be the son or grandson of one of Finwë’s brothers or sisters and of a lady or a lord of the Vanyar.

I finally finished this digital painting!

I’ve always wondered why, from the Halls, Finwë never tried to appeal to the Valar on behalf of his sons and grandchildren.

I’ve also seen people wonder why someone never argued that the Noldor should wait for Finwë’s re-embodiment - the usual argument being that Fëanor’s selfishness and pride would never have allowed it.

However.

It’s not in the published Silmarillion, but when Maedhros recounts the events of Finwë’s death before Manwë, he says that there was so much evil in the darkness that befell them when Ungoliant and Melkor approached Formenos, that he and his brothers “lay upon our faces without strength”

But he also says:

“There we found the king slain at the door. His head was crushed as with a great mace of iron. We found no others: all had fled, and he had stood alone, defiant. That is plain; for his sword lay beside him, twisted and untempered as if by lightning-stroke.”

That alone proves that Finwë truly was Fëanor and Fingolfin’s father. He was powerful and extraordinarily valiant, considering the situation must have been absolutely terrifying (euphemism) even for an Elf born in the Outer Lands.

Strangely enough, I tend to imagine them closer to Noldorin fashion than any other Elven group. There are some interesting similarities between the two cultures.

Why?

Mostly because of Melian and Thingol. They are basically the only direct remnants of Valinor within this society. Elwë is a proud, isolationist king, and Doriath itself feels culturally very stable, especially if you look at how little Doriathrin evolved next to the other Sindarin dialects. And even with the later tensions between Doriath and the Dwarves, Menegroth was still carved by the Dwarves of Belegost. So I imagine a certain rigor, as well as a stronger tradition of metal ornaments and objects, becoming part of Doriath over time.

Mixed with telerin culture and Melian’s own knowledge, I think the result would end up feeling fairly Noldorin in certain ways.

So you get heavier fabrics, structured silhouettes for court clothing, brocades, and jewelry that can sometimes be fairly elaborate and finely worked. The colors and motifs, though, stay deeply rooted in forest flora.

That said, there are still obvious differences: much less interest in belts defining the waist (like among the other Teleri), fabrics leaning more toward silk and satin than velvet at court, longer tunics, less leatherwork, less variety in jewelry styles and fewer metallic elements. Also, lighter layering, and garment fastenings mostly concentrated around the collar or the bust.

Since I’m apparently far too obsessed with Tolkien elves’ clothing, I decided to start a new series, this time focused on Beleriand. It’ll cover the Falathrim, the Sindar (mostly Doriath), and the Laiquendi of Ossiriand.

So, let’s start with the Falathrim.

Like their Valinorean cousins, the Falmari, the Falathrim are Teleri, but with a particular attachment to the sea that sets them apart from the Sindar.

Honestly, I don’t imagine them as being culturally that distant from one another. So I wanted to preserve certain aspects of the Falmari in their clothing: fluid, unconstraining fabrics; less emphasis on elaborate belts, which would either be worn low on the hips or sometimes omitted entirely; embroidered motifs associated with the sea or water in general, along with its flora and fauna.

But centuries of separation, and very different living conditions, would inevitably have shaped the evolution of their clothing.

For the fabrics, I imagine them still keeping a silky quality, but leaning more toward satin rather than the iridescent look of the Falmari.

The textiles are slightly heavier too, taking into account the harsher climate Beleriand can sometimes have. Hence the use of velvet cloaks and coats that retain warmth.

For the jewelry, I imagine the Falathrim developing a stronger taste for silver jewelry than the Falmari, under the influence of Doriath. And rather than pearls, I think nacre craftsmanship and sea shells would be preferred.

This one is probably the trickiest for me, because a lot of us, myself included, already have a pre-existing visual image in mind, especially because of the movies.

It’s also the most versatile style to design. The Noldor are craftsmen: they would value practicality and efficiency in daily life, but at the same time, they would naturally apply their skills to the beauty of their fabrics and jewelry.

In my head, they’re probably the people who would take this the furthest: every cut, every fabric, every layer has a specific purpose and context.

That said, I still think some core elements would always remain: leatherwork, brocade, and metal detailing; defined waists and rich belts; noble fabrics, especially velvet and cotton flannel; mostly straight silhouettes; and a very clear hierarchy in the number of layers and jewels worn depending on the occasion.

Robes, velvet coats, and long tunics with wide sleeves for festivities, court life, and formal feasts.

Shorter tunics, more fluid robes, straight sleeves or almost no sleeves at all, and even rougher fabrics for an everyday life centered around work or studies (when not at court)

But of course, the Noldor can relax too, so I imagine they would also have fluid, looser outfits that borrow elements from both ceremonial clothing and workwear.

While the Vanyar were inspired by the sari, the Roman palla and the use of ancient fibulae, my starting point for the Teleri was Tang dynasty hanfu. I wanted a silhouette that felt fluid and yet refined.

The Eldar still share a common cultural foundation. So creating distinct clothing styles means establishing differences between the peoples without introducing any fundamental rupture.

The fabric remains light, though slightly heavier than what I used for the Vanyar. It’s also more pearlescent and silky.

Unlike Vanyarin drapery, which can sometimes be worn as a single folded and fastened piece, Telerin clothing relies more on layered garments. The clothes are neither restrictive nor especially intricate in construction - the sophistication comes from the quality of the fabrics and jewelry.

The textiles are embroidered with marine or aquatic motifs, or dyed in soft gradients of color.

I’ve been wondering for quite some time about the clothing styles and aesthetics of the Eldar in Valinor.

So I thought it could make for an interesting first post…

I was too lazy to draw anything myself. And, sadly, I don’t really have the skill for complex textures. Though I might post some of my own illustrations someday. So for now, it’ll be AI-generated, sorry...

Anyway, what really interests me is the textures and cuts of the clothes. There are ceremonial outfits, court attire, everyday clothes, and work garments.

I'll start with the Vanyar.

I went for a style based on layered drapery of varying weights - flowing fabrics, lightly embroidered, folded and fastened with brooches.

The jewelry: organic or slightly geometric shapes, most often in gold.

Rich colors, pastel tones, and a generally sunlit palette. More as recurring tendencies than any actual rigid system though.