Randland Fashions

Jorryn Varna

The Aes Sedai Shawl

This is a rough sketch of how I pictured the shawl. In the books the shawls were quilted or embroidered in a pattern of vines and leaves but left it out for two reasons. I thought it would detract from the flame logo, and I didn't want to draw it!

Treyana Sedai and I have been discussing the use of "stitch witchery" or double-sided fusible interfacing to adhere the flame logo to the back of the shawl. No sewing involved!!! We've both had luck with this method before in making banners and such.

In order to finish the edges of the logo when using the fusible web, I suggest using a novelty trim or a string of small beads.

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These are a few of the trims I happened to have on hand. Most come in a variety of colors other than what is shown. This is a product that has been getting a lot of attention lately, so there are new styles on the market all the time!

Most are relatively easy to work with and can be sewn or glued in place with fabric glue. The best part is, they run from about $.25 to $3.00 a yard (three feet).

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This is a template for your pattern. (Looks suspiciously like math homework, you say, but please read on!) Length A-B is your armspan from fingertip to fingertip plus one foot. Length C-D is how long you wish the shawl to fall down your back. You will need to add about a foot again to this length, to account for drape. Of course, lengths A-D and B-D will be where you attach the fringe in the color of your choice!

You can choose to hem all the edges with a rolled hem, or use hem tape. This comes as a plain strip that looks like a ribbon, or as a strip of lace. The lace would lend the shawl an especially lovely touch since the inside of the wrap would be edged in lace! When using hem tape, extend all edges of your pattern at least one inch for seam allowance.

Here is a detail of the flame logo. It is inspired by the cover art of Lord of Chaos.

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Dress For Novice and Accepted

Here is my sketch of an Accepted's Dress. It has the seven bands of color around the neckline and the hem. By creating this dress without the bands, it can function as a Novice Dress. I recommend using a lightweight fabric and lining it to keep it from being too see-through. We're not Domani after all! As you can almost see, there is a tie at the sides that can adjust the fit around the waist.

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The bands of color can be added easiest by using fabric glue to fasten narrow ribbon to the finished dress. These ribbons, pictured at right, come in about every shade imaginable and in three styles. The others don't have the loops at the edges, and are different widths.

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For a pattern for this dress, try Simplicity #9162. It is the closest thing I can find to my sketch and would only need slight alterations. The dress has a "V" neckline and does not have a tie. Here are the pictures care of the Simplicity website. In fact, views B and C would be fine with no alterations.

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Ebou Dari Dress

Ah, Altara! This has always been my favorite costume. I can't decide which I like more, the marriage knife or the oval necklines. They are a lovely detail to this fashion and are shown here paired with the layered petticoats. The lovely Queen Tylin was so good to model for this sketch.

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I wasn't able to find a pattern that matched exactly. Since I don't want to try drawing one, I included a picture of one that is close, again care of the Simplicity website (pattern #9025). The neckline is totally wrong, but with a bit of trial and error (or a good seamstress), it could be altered. And actually, I like the sleeves in the Simplicity pattern better!

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The colored petticoats are fairly easy. There were no patterns online that I could find, but I've seen them in stores. The design would be similar to a full skirt, gathered at the waist, and cut in layers.

Ebou Dar has a warm climate, like the rest of Altara. Due to this, the fabric choices should be lightweight. The warmer climate is one of the reasons that I like the shorter sleeves in the picture above.

My one question about the picture concerns her hair. I fear I don't have the time to research that particular fashion...

If anyone has a good sketch of a marriage knife, I would like to include it.

Mayener Dress

In my mind, this land is like ancient Greece. With a warm maritime climate and a thriving oilfish industry, this must be a lovely vacation spot.

I created an old Mediterranean style costume for this country. Berelain's dresses are sometimes described as being "draped" on her and this fits in with the style of the Greeks and Romans.

This dress should be made of very lightweight material, and in light colors. The hair is gathered up in a loose bun reminiscent of the styles shown in ancient Greek portraits. Large buttons, old t-shirt rings from the 80's, fabric strips, or decorative lace rounds could be used to cover the gathers across the shoulders. A zipper would have to be put in the side seam instead of the center back to allow for the back drape.

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The hair ornament was intended to be like a fine metal headband that ran in three arcs. This can be easily copied by using metallic cord or trim and fastening it in your hair with hairpins. Ancient women in warmer climates almost always wore their hair up in intricate twists and braids. This kept them cool and was incredibly stylish!

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I was so pleased to find a dress pattern that comes close to what I had in mind. This is Simplicity #8946. It has a lower back than I drew, but that makes little difference. You may want to make the front drape a little like the back, that would make it look a little more like the Grecian style I pictured. The train of the dress could be shortened or removed.

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Domani Dress

Slinky, sexy and sheer! This costume is the ultimate dress for a Domani merchant. Who could possibly resist her? I originally based this dress off a painting by Jonathon Earl Bowser. I included a detail from his painting instead of my original sketch. Mine didn't scan very well and needs to be redone! This one is much better anyway...

(Take a look at www.jonathonart.com for more artwork like this.)

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I was so thrilled when I found a pattern that matched my concept perfectly. This dress is a must for any woman who has her eye on a special guy because the style is so romantic and striking. Check out Simplicity #9125 to make your own!

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Andoran Ladies' Dress

Here is a dress I have actually made; it just lacks the hem to be finished. Please excuse the headless mannequin... I know it's kinda creepy, but I got so tired of trying to draw the models.

This is patterned after the description of the Andor dress from the Guide:

"Andoran women usually wear dresses with square-cut necks showing little if any cleavage, and fitted sleeves. These dresses are occasionally embroidered with flowers and leaves, and are worn belted at the waist ... Commoners wear the same basic style of dress ... usually with higher necklines and an apron." (Jordan and Patterson 238.)

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In order to get the look of embroidered leaves, I used a brocade fabric that had leaves and vines woven into it. I originally sketched the design with the rope and tassel belt, but due to several reasons, I chose to attach a strip of the contrast fabric around the empire waist, just above where the overskirt splits.

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Generally, Elayne's and Morgase's dresses are described as having a "blue skirt slashed with cream" or something similar. I couldn't think of a better way to "slash" a skirt with color other than to have two skirts, with one split up the center as shown.

The best part about this dress is that I get to decorate it with roses, and there is a pattern that is almost exactly right. Check out Butterick #6203:

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As promised: PHOTOS!!

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The bodice is fully lined and I will be adding ribbon-embroidered roses to it soon. The red fabric is a heavy tapestry with vines and leaves. The cream is the crepe side of a crepe-backed satin and the cream skirt is hemmed two inches higher that the red. It has a zipper back closure.

Total cost to of production: about $38.

Saldaean Ladies' Dress

There is very little description of the Saldaean mode of dress in the Guide. It does mention high necks and long sleeves, paired with heavy embroidery down the sleeves for noblewomen. The basic style is the same for those infamous Saldaean farmgirls, only the fabric would be rougher.

Again this is one of my works in progress. I chose to do a two piece ensemble which would make it easy to swap a divided skirt for the normal full skirt pictured. The pattern was the tricky part...

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For this design, I actually altered a set of patterns I had on hand. The upper part of the bodice is similar to Simplicity #9300, but I cut it to flare over the hips. The skirt is a standard full skirt pattern that is readily available in most Simplicity costumes.

This one is a lot of fun but very challenging. I'm also working on a new pattern for the Ebou Dari dress based off this top. (The previous pattern I cited for Ebou Dar is now out of print.)

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As promised: some real life pics of my first concept! The top is green velveteen, lined with satin. The skirt is crepe. All fabrics were found in remnant bins!

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There was a little trouble centering me in the photos... sorry about the left sides being cut off. The next photos will be better lit, closer up, and I'll be centered!!

Total cost of construction: about $20

Odds and Ends: Misc. Costume descriptions

The Children of the Light

"The Children of the Light, or Whitecloaks, always wear a pure white tabard over their clothes and armor. The left breast of each has a golden sunburst worked into it, the symbol of the Light they are sworn to follow. All officers' cloaks and tabards are further adorned with silver lightning bolts for under officers, and golden knots in increasing quantity to indicate rank for higher officers. Each Child is armored with a conical metal helm and plain breastplate ... Swords are worn by all Children ... Members of the Hand of the Light order wear the same white cloak and tabard, but these have ... a blood-red shepherd's crook behind the sunburst. The high Inquisitor wears only the red crook, devoid of the flaring dun ..." (Jordan and Patterson 226).

Kandor

"Kandori men are easily spotted by their distinctive forked beards, as well as one to three silver chains worn over their coats. Kandori also usually wear an earring, and the earrings of some successful merchants, guilds are quite ostentacious. Members of the nobility also wear chains over their coats and earrings" (Jordan and Patterson 252).

Cairhien

"Men and women wear coats and dresses of black or dark blue or green. The darkness is relieved by narrow horizontal slashes of color across the chest and body, and dark ivory lace at the throat and wrists, The number of color slashes indicates the rank of the wearer, while their color indicates the House ... The ladies wear their hair tightly coiffed into elaborate towers of curls carefully designed as unique to the wearer. The men wear their hair long, with flat or bell-shaped velvet caps. Formal wear is much the same, equally dark, save that the ladies' skirts are extremely wide and supported by hoops, and materials used are finer. The lower classes are free from the restraints of the Great Game, and they are free to dress any way they wish ... Bright skirts and shirts with coats and shawls of equally bright, though often clashing, colors are quite common" (Jordan and Patterson 260).

Ebou Dar

"Women's dresses are often pale on color with snug bodices and full skirts over bright petticoats. The necklines of commoners are cut very narrow and deep, while for nobles the bodice has a round or oval cutout, allowing those with marriage knives to show them to best advantage, and those without to show that they are available. For commoners the skirt is always worn gathered above one knee to reveal the brilliantly colored petticoats beneath, while he noblewomen wear it raised in front. Large hoop earrings are worn by most women and some men. Men and women alike wear curved daggers through their belts or sashes, and often carry a work knife as well.

"The trademark of an Ebou Dari man is his long, elaborate vest. These vests are often as brightly colored as a tinker's clothes, and are worn alone or over pale shirts with wide sleeves. Sometimes the wealthy like to add a decorative silk coat slung about the shoulders, since it is deliberately too small to be worn conventionally. This "cape" is held with a chain of silver or gold strung between the narrow embroidered lapels ... Both men and women adorn their hands with rings" (Jordan and Patterson 268).

Arad Doman

"The clothes they wear are considered scandalous by most other standards. Their dresses cover their bodies from neck to toes, but are barely opaque and cling to every curve, revelaing nothing while hinting at everything" (Jordan and Patterson 272).

Tarabon

"... both men and women wear a transparent veil across the face. When anonymity is required, they may even do a mask to completely hide the features. Taraboner men often sport facial hair under the veil in the form of a think mustache, and wear a dark cylindrical cap on their thick dark hair. Both lords and commoners wear baggy white trousers and coats embroidered with scrollwork on the shoulders, though the lords' coats are usually of finer material and their much more elaborate embroidery is often gold. Loose fitting shirts with embroidered chests are worn under the coats. Occasionally the trousers are embroidered as well.

"Noblewomen veil their faces, but they do not believe in hiding thier figures. Most wear clinging gowns of thin silk that are almost as revealing as those worn by Domani women. Peasant women also prefer thin fabric, though their dresses are made of drab wool, quite coarse in comparison to their betters' "(Jordan and Patterson 276).

Illian

"Most men of Illian wear long coats with raised collars and beards that leave their upper lip bare. Many lords also wear boots fringed with gold or silver. Women, both high and low, favor wide-brimmed hats held in place by long scarves that are wound around the neck in a utilitarian and decorative fashion. High ladies adorn themselves with decorative slippers heavily worked with gold and silver. Their dresses are cut high at the hem to show these slippers to best advantage. The dresses usually also have low-cut necklines to show the lady's natural assets to best advantage as well" (Jordan and Patterson 279).

Tear

"Tairen lords wear colorful coats of padded silks and brocades with puffy sleeves, sometimes colored in stripes. Their breeches are tight to show a well-muscled leg to best advantage, and are often brightly colored ... In contrast, common men wear baggy breeches, usually tied at the ankle and held up by a broad colored sash. Some few wear coats, but unlike the lords', theirs are long and dark, fitting tightly to the wearer's arms and chest, ten becoming wider below the waist. Sometimes low shoes or boots are worn, but more often bare feet or clogs are preferred for traversing the mud of the poorer quarters. Most common men wear cloth caps that hang to one side of their face, or wide conical straw hats to keep out the sun. Dockmen and other laborers wear the same baggy breeches, but go bare-chested or with a long vest in place of a shirt.

"The noble ladies of Tear wear long dresses with necklines cut to bare shoulders and even considerable bosom ... and their dresses are often adorned with a lace ruff and a tiny matching cap. Tairen widows wear white ... No self respecting lady is ever without her tiny porcelain bottle of smelling salts. Common women cannot afford the ... long dresses that would be ruined in the ever-present mud. Their dresses have chin-high collars that reveal nothing, and ankle-high hems. The dresses are often adorned with pale-colored aprons, usually a combination of two or three of progressively larger size, each smaller than the one beneath it. Hats, when worn, are wide-brimmed straw often dyed to match the aprons.

"Anyone, regardless of class, who wishes to walk through the outer city must go barefoot or wear a special shoe called a "clog", which is actually a small wooden platform that fastens to the soles of the wearer's existing shoes to lift them clear of hte mud" (Jordan and Patterson 284).