has been heralded as one of the greatest film trilogies of all time. The attention to detail was immense and the practical effects, production design, and choice of locations brought Middle-earth to life in a way Tolkien fans never would have imagined. The costumes are a huge component in that quest to tell this fantastical story in the right way and should be commended for their beauty and practicality.
Costumes are so crucial in summing up a character, who they are, and what they represent. Many of these costumes evolve across the trilogy but always link back to that all-important storytelling.
Good costume is often subtle and while some of the most iconic attires are listed here, the rankings are based on how well these designs help to portray an arc in a more emotionally compelling way.
Legolas' attire is of Elven make and boasts a few key elements that link him back to his people. But while the archers and soldiers of the Elves boast impressive armor and often silver or golden, expensive materials, Legolas has opted for a more conspicuous look.
Legolas is willing to sacrifice everything for the Fellowship and, although he is doing this for his people, he is shedding the majority of that identity in favor of representing the forces of good in Middle-earth as a whole.
There are subtle places where his Elven origin shines through, such as his cloak or the armbands worn for his archery, kept these details to a minimum to not draw attention to the all-important quest.
Gimli is extremely proud to be a Dwarf and wants to see his people prosper again. Whereas Legolas might try to hide aspects of his heritage, Gimli has fully embraced the skills of his brethren.
Gimli is adorned with all manner of armor and weaponry of the finest Dwarven make.
In Gimli's mind, there's no better equipment than that made by a Dwarf and the fact that he continues to wear this throughout his travels talks to a slight stubbornness within the character. But there's also something deeper there. Gimli trusts his people to protect him and thus wears their attire, but learns to connect with the likes of Legolas and therefore expand who he can place his faith in.
Sauron is the ultimate evil and a villain that . As a force to be reckoned with, it's intriguing that Sauron's form, outside of the Eye, is so brutal. Evil can be portrayed in many ways, but Sauron's armor feels like a weapon unto itself.
Its sharp, jagged edges and spikes show that this is a force of nature that could wipe through a battlefield. But, there are design elements that also link to Sauron's tower, with some of those same shapes reflected in both the architecture of the Eye's home and the armor itself.
Galadriel is goodness in its purest form and helps to guide Gandalf and the Fellowship throughout the trilogy his final task. She represents something more, and her costume reflects that. The Elven elements are far more obvious than Legolas' with the crown atop her head nodding toward her status and power.
The choice was made to dress Galadriel in something far more ethereal, with flowing materials and a bright white palette tapping into god-like imagery. Interestingly, very few characters in wear white quite like this, but the link has been drawn between Gandalf and Galadriel, paralleling the two characters through their attires.
Aragorn's costuming changes more than most throughout the trilogy. From a low-status look that allowed him to blend into the background, to that of a ranger, a warrior, and a king, Aragorn has had to wear many hats and fits into an array of roles. In truth, his costume changes speak to his inner turmoil.
Aragorn is constantly struggling with who he wants to be and who he needs to be. of a 'promised king' or 'chosen one,' and that's such a big role to live up to. Aragorn largely wears simplified clothes, right up until he is crowned, which shows that despite being a worthy king, he is both humble and a man of the people.
Frodo doesn't leave with armor or protective clothing. He exits from the Shire in the same attire that he would wear while reading a book by the fire. Frodo's clothing might be perfect for distracting from the truth of his quest, but they are also largely impractical.
That doesn't matter, as the thing Frodo longs for the most in the world is to return home.
The fact that both he and Sam bring their home with them wherever they are, through the comforts of their clothes, allows them to hold on to the hope that things will return back to normal. If Frodo had been kitted out on Godorian armor, that arc just wouldn't play the same.
Gandalf the Grey and Gandalf the White display some of the best costuming in mythology. Gandalf is the prototype wizard and his attire sticks to all of the tropes associated with the fantasy genre.
Indeed, with Gandalf, this look wouldn't be so iconic.
Gandalf's attire is very simple in its design and yet extremely practical. All manner of magical artifacts seem to be hidden among the cloak, and the costume designers utilized natural imagery to showcase that Gandalf is one with Middle-earth. Gandalf is responsible for some of the yet his costume is deliberately far from exciting, which speaks to his state of mind.
Wormtongue's attire feels as if a shadow has come to life. The character is constantly lurking in the darkness, feeding lies to the Rohan King and attempting to corrupt his every thought. The materials he wears are dark and heavy, making him a menacing and ominous presence in every scene.
The cloak in particular links to crows and ravens and the kinds of birds often associated with death. Wormtongue is an unkind man, whose very character is associated with horrible things. His costuming could have been more subtle and yet the designers really leaned into the fact that Wormtonue is a black hole, sucking the life out of any room he enters.
Éowyn represents an ever-changing dynamic among her people, as she strives to be recognized as more than a potential damsel in distress but rather the hero of her own story. Éowyn's role in the trilogy is legendary, as she strikes down , the Witch King, disguised as a male warrior.
But even across her appearances outside of battle, Éowyn is constantly fighting back against stereotypes. She can often be seen in more practical clothing, likely not considered to be fit for a princess, but perfect for an equestrian expert and someone who isn't afraid to get their own hands dirty.
Compared to her uncle, who dresses the part of the king, Éowyn's costuming shows she is one with her people.
Théoden's initial appearance is one of a king on his deathbed. He is weak and corrupted, full of the lies that Wormtongue has spun. The character's costuming is intriguingly paralleled to Wormtongue himself, showing the connection between the two. The material is extremely similar, but the graying colors speak to his weariness and rapid aging.
The costume transformation that occurs is one of the most integral to any character arc, as Théoden reclaims his role as a king among men and crafts a look that's both regal and bold.
In battle, Théoden wears an elaborate piece of armor that isn't just about protection but about presenting an image of strength. It's almost as if he overcompensates to repair the damage done in his past.
