The Finale – “New Spring” Fashion

 
Please Note: This post contains spoilers for New Spring.
 

While “New Spring” is filled with numerous references to the fashion of the world, there are a few people that are only provided a limited glimpse. This would be with regards to the Aiel, the Sea Folk, and the Tinkers.
 

Aiel

Very little is provided on the fashion of the Aiel. The image provided is that of the fighters. “They were tall men…wearing coats and breeches in shades of brown and gray…Each had a cloth wrapped around his head, and a dark veil hiding his face to the eyes” (p. 13). It was recognized that Aiel women sometimes fought alongside the men, and thus dressed similarly. For weapons, “each carried a short spear tipped in one hand, with a round, bull-hide buckler and several more spears clutched in the other. Their bows were in cases on their backs” (p.13). Their clothing was for ease of movement and more appropriately to obscure their movement in the more barren landscape of their homeland.
 

Sea Folk

Another people were are only offered a limited view of are the Atha’an Miere, or Sea Folk. Zemaille, later Aes Sedai of the Brown Ajah, is introduced as an Accepted. She was “a slim, very dark woman with straight black hair hanging to her waist and a scattering of black tattoos on her hands” (p. 50). Dark complexion and tattoos were common features of the Sea Folk. “A charcoal-skinned fellow who might have been one of the Sea Folk” but since “his hands were hidden in his frayed cloak” it could not be determined if they were tattooed (p. 64). Though tattoos are an obviously common adornment, little else is provided with regards to their fashion.
 

Tinker

We are only given a single example of Tuatha’an, or Tinker, fashion. Aisling Noon, later Aes Sedai of the Green Ajah, was shown while an Accepted. She is described as being tall, and like the Sea Folk, “was another rarity for the Tower” (p. 51). While her clothing was not specifically described, it was noted that the Tinkers lived in “garishly painted wagons, traveling from village to village” (p. 51). It is likely that this love of bright colors was reflected in her clothing.

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Kandori “New Spring” Fashion

new spring fashion kandori

This post contains spoilers for New Spring.

 

As a large part of the events of New Spring occur in Kandor, it is not surprising that there is a great deal of details pertaining to the clothing of the people in this region. We are given a look at male and female dress, as well as guards and the elite.

 

In general, men wore coats and baggy breeches and women blouses and wide trousers. Embroidery decorates most garments. Though the farmers were likely wearing their best for Bel Tine festivities, “bright embroidery decorated the striding country men’s baggy breeches, the women’s wide trousers, their cloaks fluttering in the wind. Some wore colored ribbons in their hair, or a narrow fur collar” (p. 214). In the town of Manala, “Everyone wore their feastday best, the women’s pale blouses and wide trousers and the men’s bright coats encrusted with elaborate embroidery” (p. 275). Among them was Mistress Marishna, “a lean young woman whose blouse and wide trousers were embroidered in a red and gold pattern” (p. 279). Alternately, a Kandori woman wore a “plain gray dress” (p. 236) and there were “plainly dressed merchants” (p. 239).

 

In Canluum, city of Kandor, there were “colorfully dressed musicians, or jugglers, or tumblers performed at every intersection” and the riders garb was ornately embroidered and “trimmed with fox or marten or ermine” (p. 219). Many women wore lace veils over their faces, but it was “sheer enough to reveal that they had eyes” (p. 219). In the Deeps, a rougher part of the city “the street performers’ finery was tarnished” (p. 222). In Chachin, capital of Kandor, those from the rough part of town wore “worn, patched woolens” (p. 310) and stained coats and some women wore “well-cut but plain woolens with only a brooch or earings for jewelry” (p. 316).

 

Numerous inns are visited in Kandor. Aprons are a common accessory. Racelle Arvoni at The Blue Rose “gave her blue-striped apron a twitch” (p. 223). Master Helvin at The Gates of Heaven wore a “green-striped apron” (p. 258). Even innkeepers could show a bit of style. Ailene Tolvina, innkeeper of The Evening Star, wore “a gray dress embroidered with a sprinkling of blue flowers on the shoulders” (p. 317). Mistress Tomichi, innkeeper of The Plowman’s Blade, wore a “billowing blouse worked with red and yellow flowers and her wide trousers covered in red and blue” (p. 277).

 

Kandori merchants were recognized by the chains they wore. “The chains of the Kandori merchants’ guild spanned a chest” (p. 213). They were “silver chains” (p. 63). There were women in an inn who wore “the chains of the Kandori Merchants’ Guild looping across their bosoms” (p. 316).

 

Silene Dorelmin, the best seamstress in Chachin, wore a “shimmering blue dress with a neckline cut to show most of her cleavage”. Mistress Romera, was the shatayan of Aesdaishar Palace. She wore livery and her “graying hair worn in a thick roll on the nape of her neck. The silvered ring of keys at her belt proclaimed [she] had charge of all the Palace servants” (p. 298).

 

The fashion of the elite generally incorporated finer fabrics. “Kandori lords and ladies in silks embroidered with House sigils” (p. 302). At court, men wore “muted silks” and women in “bright colors belted high beneath their breasts and embroidered down the arms and along the hems of their skirts” (p. 330). Prince Brys wore “gold-worked green silks” and his son, Diryk, wore a coat like his father’s (p. 303).

 

The soldiers of the various cities were marked by the appropriate sigil. In Canluum, “the guards at the outer tower, in helmets with Varan’s antlered crest and the Red Stag on their chests” (p. 216). The guards on the wall wore “back- and breastplates” (p. 216). In Chachin, the guards wore helmets and breastplates and the “Red Horse on their chests” (p. 294). “The Red Horse was embroidered on the green tabards they wore over their breastplates, and their halberds bore red-and-green streamers. They were quiet colorful, with their red helmets and breeches and their polished high green boots” (p. 297). The officer had a “red-plumed helmet” (p. 297).

 

So while there were occasionally limitations due to status, Kandori fashion generally included bright colors and embroidery. Wool might be more common among the lower classes, but was just as likely to be embroidered. Men generally wore coats and baggy breeches while women usually wore blouses and wide trousers.

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Shienaran and Malkieri “New Spring” Fashion

This post contains spoilers for New Spring.

Malkier lay to the north of Shienar; and when it fell, Shienar truly became part of the Borderlands. “The law in every Borderland forbade hiding your face inside village or town” (p. 216).

Shienar

Very little is mentioned with regards to Shienaran fashion. The only description given was that of a soldier during the Aiel War. He was “stone-faced…with his crested helmet hanging from his saddle and his head shaved except for a topknot” (p. 64).

Malkier

Though the nation of Malkier had fallen, the fashion lived on. Some had adopted the dress of other nations, such as Ryne Venamar appearing to be Arafellin in his attire. Others retained traditional dress.

During the Aiel War, al’Lan Mandragoran and Bukama Marenellin wore unadorned armor, coats, and coats of plain wool. Lan’s helmet was in the Malkieri tradition, “supporting a steel crescent moon above¬†his forehead” (p. 2). After the war, they wore “dark, knee-long coats” (p. 263). When needing to dress for a more formal occasion, Lan wore a white silk shirt, “tight black silk breeches”, and a “good black silk coat embroidered along the sleeves with golden bloodroses among their hooked thorns”¬†(p. 300).

Bukama’s hair was “worn cut at the shoulders as tradition required” (p. 4). It was tradition for Malkieri men to wear the hadori, a “thin braided leather cord” worn across the forehead to hold their hair back (p. 5). Lan wore it as well, and he “would die wearing it, and go into the ground wearing that and nothing else” (p. 5).

Tradition among Malkieri women was to adorn their “foreheads with the ki’sain in pledge that they would swear their sons to oppose the Shadow while they breathed” (p. 220). As an unmarried woman, Iselle Arrel wore “a small blue dot painted on her forehead” (p. 338). Her mother, Edeyn ti Gemallen Arrel, wore a ki’sain, “still the white of a widow” (p. 304).

Iselle Arrel was described as a young woman with “black hair that fell well below her hips” and in a “pale green silk” dress (p. 338). After Iselle died, Edeyn wore a “white gown, her hair cut raggedly short” in mourning (p. 354).

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Domani “New Spring” Fashion

 
This post contains spoilers for New Spring.
 
The fashion of Arad Doman focused predominantly on that of the women. The only clear depiction of male attire is that of Basram during the Aiel War, which is definitely military, rather than civilian. “The hood of his cloak slid back, revealing his conical steel helmet…vertical bars of his faceguard” (p. 2). He is described as wearing gloves and being armed with a horsebow.
 
Most people of Arad Doman were of a copper complexion and slim. “Copper-skinned Domani women in fancifully worked cloaks – doubtless merchants; most Domani women seen abroad were” (p. 64). Tamore Alkohima was a highly praised seamstress in Tar Valon. She was “fair-skinned for a Domani” (p. 190). Leane Sharif, Aes Sedai of the Blue Ajah, was “willowy and as tall as most men” (p. 162). Jeaine Caide, a “slim, copper-skinned Domani” was Aes Sedai of the Green Ajah (p. 158). However, there are always exceptions. At the Blue Rose Inn, there was a “plump copper-skinned woman wearing a much thicker dress than Domani women usually did” (p. 225).
 
The Domani fashion for women was generally “clinging and little short of sheer” (p. 304). Three women at the Evening Star Inn wore “bright Domani dresses” and “tall chain-necklaces of gold that covered their entire necks” (p. 316). Tamore Alkohima wore a “pale green dress, elegant and simple at the same time” which “spoke well of her talents, though it did cling in an alarming manner, molding her in a way that left no doubts of exactly what lay beneath the silk” (p. 190). Duhara Basaheen was the Keeper raised from the Red Ajah. “Her dark dress was so slashed with scarlet it might as well have been scarlet” (p. 206).
 
Male military fashion of Arad Doman included conical helmets with vertical bars across the faceguard. Women’s fashion generally included sheer and clinging gowns as well as embroidered cloaks and tall necklaces.

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Murundian “New Spring” Fashion

 

This post contains spoilers for New Spring.
 

Within New Spring are descriptions of the fashions of various nations. While some are only mentioned in general, others are explored in greater detail. We are given several examples of Murandian fashion.
 

Fashion for men of Murandy is limited. Bright colors and curled mustaches appear to be common. Murandian dandies are described as “brightly coated” and having “curled mustaches” (p. 63).
 

Women’s fashion of Murandy is described a bit better. When examining the women who gathered with their infants to have their names taken down, most “wore plain, thick woolens, but half a dozen or so were in silks or at least ornately embroidered dresses of fine cut that indicated wealth or nobility or both” (p. 73).
 

Most dresses appeared to have high necks. Wealthy women, such as Lady Meri do Ahlan a’Conlin, utilized silk and embroidered fabrics. Her “high-necked green riding dress” was of silk, if not the best, and her “fur-lined blue cloak” was “embroidered in red and gold. And she wore a jeweled ring on every finger” (p. 75). Though certainly not poor, Haesel Palan, a rug merchant, wore “fine brown woolens” (p. 258).
 

Elaida do Avriny a’Roihan, was a Red Aes Sedai from Murandy. Her clothes exemplified the high-neck and use of embroidery. “Her brocaded dress was not a muted red or a faint red, but a bright hue, as though she were screaming her Ajah to the world. Her cloak, lined in black fur, was exactly the same shade” (p. 84). She later appeared in a “high-necked dress even redder that that she had worn the day before…Her red-fringed shawl was richly embroidered with flowered vines” (p. 104).
 

Murandian men’s fashion was focused on brightly colored coats and curled mustaches. The fashion for women of Murandy had high-necked dresses and often incorporated embroidery.

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