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69134-ECF-O_1-10.qxd 8/23/2004 1:57 PM Page 1 O OCCULT DRESS Occultism is any nonmainstream Occult dress is also used to indicate status within a Western system of spirituality that uses magic, the defi- group. Wiccan high priestesses of Alexandrian lineages in- nition of magic being the way in which internal thoughts dicate status to other initiates by a colored leg garter. Also, are used to effect changes in the outside world. Occultists, a waist cord may be worn in the same group to indicate such as northern European Pagans (e.g., Wiccans, the wearer having taken oaths pertaining to a level of ini- Druids, and witches) and ceremonial magicians (Cabal- tiation. Other occult groups, such as the Order of Bards, ists, hermetics, and the like) practice magic as part of their Ovates, and Druids, who originated in England, wear col- religions. Occult dress is used when participating in ored robes denoting rank during some occult ceremonies. magic rites, rituals, or ceremonies. Western occult dress Cultural disposition is another motivation for spe- has three primary functions: (1) to psychologically place cific occult dress. For example, Asatru practitioners may the wearer in an extraordinary sense of reality; (2) to iden- don tunics and mantles of historic Germanic styles to de- tify the status of the wearer within a social group; and (3) note their affiliation to the ancient Teutonic religion. to indicate the beliefs of the wearer. Celtic knotwork designs on clothing and jewelry may be worn to show an affiliation to Druidism and other an- Clothing cient Celtic spiritualities. Occult beliefs promote nudity as occult dress, because Western occult dress tends to be self-manufactured clothing is believed to impede the flow of magical ener- (sewn by the practitioner or by a fellow occult member), gies through the body from the surrounding environment. or if technical skills are lacking, utilizes existing everyday Wicca practitioners and witches have traditionally per- clothing for a magical purpose such as a silk bathrobe formed rites in the nude to show their devotion to the purchased at a department store that could be worn in Wiccan goddess. Due to modesty or weather, some oc- ritual as magical raiment. cultists wear robes or tunics with bare feet and no un- dergarments. This latter dress is believed to still allow the Jewelry flow of magical energies. Many covens and magical groups Jewelry is used to indicate occult status or beliefs. A Wic- have set occult dress guidelines, using tradition or per- can priestess may don a silver tiara or crown emblazoned sonal tastes as a basis for these guidelines. Occult dress, with moon-phase symbols, while a Wiccan practitioner especially nudity, is not a common Western mode of or a Witch may wear a necklace with a moon or femi- dress, therefore it psychologically alerts and reinforces the nine symbol. Both silver metal and the moon symbolize awareness of special occasions and presence of magic for the Goddess and feminine energies. A Wiccan priest may occultists. Each magical group sets the guidelines for oc- wear a headdress of antlers to symbolize fertility, fecun- cult dress. There is not a specific literature, although a dity, and the God of Wicca. A high priest or other prac- magical group may draw inspiration from books, movies, titioner may wear a necklace or torc decorated with or even more mainstream cultural practices. appropriate spiritual symbols. Some occult groups don garments symbolically col- The pentacle, a disk emblazoned with a five-pointed ored according to a ceremony or rite. For example, a star known as a pentagram, is commonly worn by many Northern European Pagan coven may don white clothes occultists as a token of affiliation to a nature-based pa- to celebrate Yule rites and green clothes to celebrate gan religion. The pentagram’s points symbolize the ele- Beltane festivals. Ceremonial magic groups, such as the ments of air, earth, wind, fire, and spirit, important Hermetic Order of the Golden Dawn, have an extensive concepts in northern European paganism. Another com- magical color symbolism, and thus certain colored cloth- mon indicator of a belief in a nature-based religion, es- ing is worn for a specific ritual. This is done in order to pecially witchcraft, is the Egyptian ankh pendant, worn mentally link the practitioner to the rites being per- as a symbol of eternal life. formed, raising awareness and effectiveness of the spiri- Practitioners of Teutonic religions may wear an up- tual ritual. side-down T-shaped “Thor’s hammer.” This symbol is 1 69134-ECF-O_1-10.qxd 8/23/2004 1:57 PM Page 2 OILSKINS used as an overall indicator of Asatru, a name sometimes bol of subculture affiliation, rather than as an indicator of used for the Teutonic pantheon-based religion. religious or spiritual beliefs and practices. See also Ceremonial and Festival Costumes; Religion and Tattoos Dress. Tattoos may be used to indicate Pagan spiritual beliefs. Celtic knotwork and swirls are common designs em- BIBLIOGRAPHY ployed as indicators of a nature-based religion. Tattoos Buckland, Raymond. Buckland’s Complete Book of Witchcraft. St. can be utilized as proof of initiation or devotion. For ex- Paul, Minn.: Llewellyn Publications, 1998. ample, some worshippers of Odin may get a tattoo of —. The Tree: The Complete Book of Saxon Witchcraft. York three interlocking triangles as a sign of their devotion to Beach, Me.: Samuel Weiser, 1985. that Teutonic deity. Campanelli, Pauline. Rites of Passage. St. Paul, Minn.: Llewellyn Publications, 1995. Contemporary Occult Stereotypes Fitch, Ed. The Rites of Odin. St. Paul, Minn.: Llewellyn Publi- The media generally depicts occultists wearing all-black cations, 2002. clothing, especially black robes or cloaks, and having pen- Raven Wolf, Silver. Solitary Witch: The Ultimate Book of Shad- tacles as jewelry. This stereotypical dress perpetuates the ows for the New Generation. St. Paul, Minn.: Llewellyn Pub- erroneous belief that the occultist is sinful or “evil.” lications, 2003. “Witch” stereotype. The “witch” is an enduring stereo- Thomas A. Bilstad and Theresa M. Winge type of female occult dress, exemplified by the Wicked Witch of the West from The Wizard of Oz and the witch antagonist from various Grimm’s fairy tales. The witch OILSKINS Oilskin is a heavy cloth that has been made stereotype consists of ragged, all-black clothing, cape, waterproof by being impregnated with a hot solution of conical wide-brimmed hat, and facial deformities. This oil, gum, and wax to ensure maximum protection under stereotype originated in medieval Christianity’s attempt extreme conditions. It has traditionally been made into to denigrate practitioners of Western Pagan religions. the foul-weather apparel worn by sailors and fishermen. The color black and physical deformities are associated with the concepts of evil and sin, hence the witch stereo- Like many pieces of outerwear, the oilskin was born type is “covered” in sin—black clothing and warts. out of necessity. Life upon the high seas was never easy Around the turn of the twenty-first century, the popu- for those on board ship, and sailors devised a number of larity of the Harry Potter book series by J. K. Rowling protective garments to deal with extreme conditions. helped to alter the stereotype of the witch, replacing it During the early nineteenth century, it became common with more diversified images and connotations. for sailors to smear themselves and the clothes they were wearing with oil for protection from the cold and the Warlock/Satanist stereotype. The “warlock/Satanist” from continuous ocean spray. One sailor at the time, Edward cinema, such as those in the 1970s’ Hammer horror films, Le Roy, discovered that worn-out sail canvas could be re- is another Western occult dress stereotype. The male and cycled as outerwear. He devised a method of painting the female Satanist stereotypes typically wear pentacle jewelry, fabric with a mix of linseed oil and wax so that it would black robes, black hair, and black eyeliner; similar dress is become waterproof and suitable to be worn on deck in used for the (male) warlock. Since Western cinema has his- foul-weather conditions. By the 1830s, the oilskin had torically dressed the villain archetype in all-black clothing, become established as essential attire for rough weather dressing the occultist in black visually communicates a sin- at sea for sailors, fishermen, and lifeboat men. The oil- ister character to the audience. skins appeared to have a yellowish hue owing to the lin- seed oil used to treat them. Overcoats, hats, jackets, and Influences on Contemporary Dress trousers were also produced in this manner. When sailors In the late twentieth century, some occultists wishing to came to shore they would often still be sporting their oil- be recognized in mainstream religious and cultural are- skin attire, and the wearing of oilskins was adapted for nas adopted stereotypical occult dress—black robes, pen- use by people on land. As news of the effectiveness of Le tacle jewelry, black hair, and black eyeliner. While Roy’s new discovery spread, oilskin coats were soon be- controversial among occult communities, they visually ing made by colonists in Australia, and by members of publicized and communicated occult membership and the British army to protect their rifles during rainstorms. beliefs by wearing this type of dress. The oilskin coat is often known as a “slicker” in the Occult dress has also influenced subcultures. The United States. Oilskin coats and trousers, now made of dark-romantic Goths, some heavy metal music fans “head- rubberized or plastic-coated fabric, are still widely worn bangers,” and a variety of vampire subcultures utilize ele- by fishermen and those in other maritime occupations, ments of occult dress, especially stereotypical components, and have become standard rainwear for young children.

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