Abby Epplett, Historian

When Frodo invited his twenty closest friends to his annual celebration of Bilbo’s birthday, these young hobbits were most likely his cousins from the Took branch of his family, as I cannot imagine a Baggins displaying such ridiculous behavior. By the time of Frodo’s generation and that of his younger cousins, members of the Took clan had married into nearly every other respectable clan in the Shire, bringing their wealth and quirky behavior with them. Besides reviewing the Took family tree and a potential cause of their unusual actions, I will explain how the clothing of wealthy hobbits changed from the time of Bilbo’s 111 st birthday to seventeen years later when Frodo was again visited by Gandalf. Finally, I believe the Took cousins were based upon a group of young people in the Real World who were contemporaries of Tolkien, and I will compare the behaviors of the two cultures.

For the second essay in a two-part series on my interpretation of Frodo’s wardrobe, I focus on clothing worn in different types of weather, including coats, hats, boots, early sunglasses, and floral outfits. Besides comparing clothing from the Real World to the version I made for Middle-earth, I examine how technology and culture shaped what people wore.

Past Abby would have written this post as one giant essay. Present Abby knows better. During today’s post, I will describe the leisurewear I designed for Frodo’s wardrobe with a special focus on the banyan, the smoking jacket and its matching hat, and Celtic clothes like argyle, tam-o’-shanter, and brekis . Next week, I will discuss weather-themed clothing, including coats, hats, and boots. Since Frodo was implied to have inherited the “rooms full of clothes” from Bilbo, the audience needs to see what he has: no pathetic blue shirt and suspenders for this Frodo.

When Bilbo left Bag End after his Long-Expected Party, he wore a traveling outfit that he had assembled during his adventure with Thorin and company many years earlier. The base of this outfit was heavily worn hobbit-clothes, which I have designed to look similar to a late 18 th century costume previously described in “Characters: Bilbo & Frodo Baggins” . The outer layer was a cloak and hood, common clothing for dwarf-men who liked to travel. The cloak and hood were “rather too large” for Bilbo, presumably because although he was nearly the same height as dwarves, he had less muscle mass and a narrower build.

The Lord of the Rings was originally written as an exercise in speculative linguistics, and Tolkien scholars enjoy discussing the invented languages, unique words, and antiquated concepts found in the text. Of the many words and phrases that may bring discomfort to the modern reader because of the evolution of language and changing social attitudes is one of Sam’s favorite words: master. While a thesaurus might list “boss” or “manager” as synonyms, “master” connotates feudalism in Europe and slavery in the Americas. Interestingly, the negative connotation seems to have arisen after these periods due to the Nazi Party declaring whites a “master race” during the Holocaust, changes in Western social structure after World War II, and the rise of social movements during the 1960s and 1970s. The word was part of daily language from the 16 th to early 20 th century, as a boy of an upper class family or a man of low social status were given the title “master” opposed to the higher ...

During the early 19 th century, also known as the Regency era in Great Britain, clothing mimicked contemporary events in Europe, including revolutions and building empires. People were inspired by similar events in classical history such as Athenian democracy and the Roman Empire. Northwestern European scholars had long appropriated the history of the Mediterranean as their own past, but this was the first time the mythology had gone mainstream. The beginning of print culture , or the mass production of written documents including books, allowed the noble and merchant classes to own their own copies of The Odyssey and The Iliad , albeit with varying accuracy in translation, while the display of marble statues at public institutions like our old friend the British Museum allowed the general public to see how their favorite heroes may have looked. This interest in the ancient world continues today, as the so-called Elgin Marbles from the Parthenon have been on display in the m...

When creating prototypes and characters who might be classed as ‘rustic’ hobbits living during the late Third Age, or the time when The Hobbit and most of The Lord of the Rings took place, I considered how their physical appearance and occupation might affect their status within a complex, stratified society and accordingly influence their choice of clothing. Such stratification continues to occur in the Real World. In countries where people regard themselves as being democratic, like the United States, people attempt to appear egalitarian and middle class, even if this society currently faces the most extreme income gaps in its history. Meanwhile, in countries where people maintain remnants of feudalism or religious beliefs supporting hierarchy, like England and India, people take pride in their status and emphasize their identity through their clothing, especially if they are higher in the system, and even if their government has become democratic.

For this week’s post, I decided to focus on the physical appearances and clothing styles of Bilbo and Frodo Baggins, the protagonists of The Hobbit and The Lord of the Rings. As first mentioned in my character study of Elanor Gardner Fairbairn , the costume designs for my characters align to the timeline in the Real World. I used descriptions in the texts as my base and elaborated on these references with historical costumes. I also viewed the artwork created by other fans, including Tolkien himself, to understand how the characters are classically portrayed, and how my portrayal might differ.

While I previously discussed the appearances of upper class hobbit-lasses from the Shire at the beginning of the Fourth Age during my article about Elanor Gardner Fairbairn , I wanted to expand upon this explanation to include more Shire Hobbits from this time who would appear in the framing device . The opening scene of the hypothetical animated musical would occur during Shire Reckoning (S.R.) 1482 on the day after Mid-Summer and feature a diverse gathering of hobbits. Their clothing style would reflect real-world fashion from the 1890s in Western Europe and North America, while their physical appearances or phenotypes would follow the descriptions first presented in the “Prologue: 1 Concerning Hobbits” , and further explained below. As a leading scholar of medieval studies, Tolkien must have been well-acquainted with the variety of cultures living in Europe throughout its history, and I believe The Lord of the Rings paralleled his interpretation of real-world people and eve...

I began listening to the podcast series Articles of Interest back in 2018 when it was a mini-series within the award-winning podcast 99% Invisible hosted by Roman Mars . Hosted by Avery Trufelman, this spin-off focuses on the history of Western fashion and subcultures. After four seasons — two episodic seasons with 99% Invisible , an independent serialized season, and an independent episodic season — the podcast is on hiatus as Trufelman writes a book, making this the perfect time for a review.

In past essays, I have given a lot of thought to Elanor Gardner Fairbairn, a minor character of great importance who would become a major character in the hypothetical musical. She first appeared during “Overview of Appendix A” with the mention of her birthdate, 25 March Third Age (T.A.) 3021 / Fourth Age (F.A.) 1 / Shire Reckoning (S.R.) 1421, which served not only as a symbol of rebirth after the worldwide War of the Ring but also as a demonstration on how tricky the calendars of Middle-earth can be . Her husband, Fastred of Greenholm, received a mention in “Appendix A, II The Kings of the Mark” , and a full explanation of her work as an editor of The Red Book of Westmarch was given in “Framing Device” just two weeks ago. Rather than reviewing her life and occupation as I have done previously, I now turn to physical appearance, especially personal clothing style.