1. Wedding Pills
Ted Noten (b. 1956); gold; the Netherlands; 2007; courtesy of Design Museum Den Bosch
These gold pills, intended as alternatives to wedding rings, have a traditional inscription stating the couple’s names and the date of their wedding. They can be taken with a glass of vodka or another beverage. Their intimate passage through the body challenges the newlyweds to push the boundaries of their love. Will the pills be flushed down the toilet, or fished out? By whom? They might potentially spark the first crisis in the marriage. If desired, the ritual can be repeated after every crisis, as an act of reconciliation.
2. Cushion covers used at weddings
Gold thread, velvet, cotton, plastic, iron; Oujda, Morocco; before 1996; purchased from A. Takni; TM-5670-1,-2
In some Moroccan wedding traditions, the bride is carried in on a decorated circular wooden seat, so that she does not need to step over the threshold, where jealous spirits might be lying in wait. The seat is upholstered in green fabric and has cushions like these that ensure the bride sits comfortably. Green is the colour of prosperity and faith, and the peacock embroidered in gold thread symbolises beauty and grace.
Golden bride (stage)
1. Bridal set from Oujda (nrs 1-10)- Bridal crown
Gilded brass, glass, beads, elastic; Oujda, Morocco; before 1996; purchased from A. Takni; TM-5670-5
This set of bridal jewellery is in the Andalusian Arabic style, which was popular in Moroccan cities. A complete set can cost a huge amount of money, particularly if it is made of real gold and precious stones. This bridal crown consists of five elements and two endpieces. Five is an important number, associated with the five daily prayers and the five pillars of Islam. Repetition of the number five ensures that the bride not only looks like a queen on her wedding day, but is also protected from accidents and from the evil eye.
2 . Belt
Gilded brass, glass, plastic; Oujda, Morocco; before 1996; purchased from A. Takni; TM-5670-11
A belt has special significance for a bride. It shows her new status as a married woman, but (in some folk traditions) it can also get in the way if she wishes to become pregnant. So, in some parts of Morocco, a woman would no longer wear a belt after marriage. This belt is decorated with green glass, and the ornamental element in the centre has been set with colourless glass beads. Similar belts from Fes in the early 20th century are set with emeralds and diamonds. This belt is part of an old tradition.
3. Brooches
Gilded brass, glass, plastic; Oujda, Morocco; before 1996; purchased from A. Takni; TM-5670-6a,-b
These brooches were worn on the shoulders, and are reminiscent of traditional garment pins. They are typical of the style of clothing worn by married women. In wedding songs, garment pins are often a metaphor for the bride’s beauty. Single brooches are not part of traditional dress, and did not become popular until the 20th century.
4, 5. Head pendants
Gilded brass, glass; Oujda, Morocco, before 1996; purchased from A. Takni; TM-5670-9a,-b
The form of this head ornament is similar to early 20th-century jewellery from Rabat, which was set with emeralds. These head pendants, which are sewn onto the veil, hang down beside the face. They draw attention to the bride’s beauty, while their constant motion ensures that any spirits are kept away.
6. Forehead ornament
Gilded brass, glass; Oujda, Morocco; before 1996; purchased from A. Takni; TM-5670-10
The name of the forehead ornament is ‘a thread of wind’, in reference to the ease with which this light, flexible item of jewellery can be worn. It would be positioned just above the eyebrows, and the green stone at the bottom would hang between them. This would draw attention to the bride’s eyes, while the moving pendant and the use of the colour green would avert any jealous looks.
7. Brooches
Gold, glass, plastic; Oujda, Morocco; before 1996; purchased from A. Takni; TM-5670-7a,-b
While the rest of the set is in the Andalusian Arabic style, this brooch is in a European Art Nouveau style. The green ensures that it matches the rest of the set flawlessly. The brooches were worn on the shoulders, and are reminiscent of traditional garment pins. They are typical of the style of clothing worn by married women. In wedding songs, garment pins are often a metaphor for the bride’s beauty.
8, 9. Head pendants
Gilded brass, glass, plastic; Oujda, Morocco; before 1996; purchased from A. Takni; TM-5670-4a,-b
10. Necklace
Gilded brass, glass; Oujda, Morocco; before 1996; purchased from A. Takni; TM-5670-8
11. Decorative plate for bridal cushion
Gilded metal; Java, Indonesia; before 1940; TM-1772-665
Plates such as these, edged with small holes, are attached to the edge of a circular or oval cushion. At the wedding, they represent the wealth of the owner. Those who do not own any plates will even borrow them for the occasion.
12. Pot, bekkeng mpulaweng
Goud, emerald, precious stone; Sulawesi, Indonesia; 1700-1900; gift of F. Liefkes; RV-Liefkes-407
This pot, a bekkeng mpulaweng, was used to store oil, face powder or incense. On the base there is an inscription in Buginese, which suggests that this special pot was part of a bride’s dowry.
13. Miniature dinner service
Wood, gold paint, lacquer; Japan; 1800-1899; WM-70242
On three March the Japanese celebrate Girls’ Day, or hinamatsuri. It is one of the five traditional festivals in the year. At home, people display a set of dolls, with the Emperor and his wife at the top. The arrangement symbolises a wedding, and all the accessories, including tables and bowls in fine lacquerware, resemble a bride’s trousseau.
14. Sake pots
Gilded copper; Japan; 1800-1829; RV-360-3778,-3779
In a traditional Shintō wedding ceremony, a Japanese bride and groom drink sake. Three alternate sips from three shallow dishes of increasing size. The groom is served first, from a gilded copper pot with two spouts, then the bride is served from the pot with a single spout, and then the groom again. The drinking of sake symbolises the union of the two families.
15. Bridal diadem
Silver-gilt, glass, pearl, coral; Tajikistan, Uzbekistan; c. 1900; RV-5639-13
The name of this diadem is Tilla-kosh, which means ‘golden eyebrows’. Its shape draws attention to the curve of the eyebrows. Joined eyebrows were the epitome of beauty. Not everyone could afford gold, so many diadems of this kind were made of silver-gilt.
16. Bridal candles
Wood, paint; Yogyakarta, Indonesia; 1900-1947; 7082-S-819-28ab
17. Bridal cloak and crown
Silk, cotton, gold thread, gold leaf; China; early 20th century; WM-65938-4, -7
Bridal outfits worn in the Qing period (1644-1911) were inspired by the dress and crown of an empress. Red is the colour of luck in China; the gold, serpentine dragon, peonies and mountains symbolise happiness, fertility and longevity. Gold reinforces this symbolism. Historically, gold was an important ingredient in the elixir of life and enhanced the power of rituals. Gold objects were a sign of wealth and status. The crown that goes with this bridal cloak is made of gilded metal. Solid gold crowns are priceless, and rare.