The vernal equinox, also known as the spring equinox, is a significant event in many pagan traditions. It marks the beginning of spring and is seen as a time of fertility, growth, and renewal. In various pagan practices and belief systems, the vernal equinox is celebrated as a time of balance and harmony. On this day, the hours of daylight and darkness are approximately equal, symbolizing the balance between light and darkness, masculine and feminine, and other polarities present in nature and within ourselves. It is seen as a time to honor and acknowledge the dualities that exist in the world and within us. The vernal equinox is often associated with themes of rebirth and new beginnings.
Really, who needs makeup when you’re swathed in white fox, ritualistically adorned with black feathers, or dressed, literally, to kill, in what came to be called “the Aslan poncho”: a lion’s mane ruff (synthetic, of course) worn atop a titanium chain-mail skirt that took a week to weld together.
But this ice palette is not the glittering white of a department store North Pole; it s the opaque aqua of icebergs and the steely blue of a frozen sea. The Centaur, another creature of Narnia, preaches to the other creatures that they need to have faith that Aslan will return, even though he has not been seen for many years.
The vernal equinox is often associated with themes of rebirth and new beginnings. It is a time when nature starts to awaken from its winter slumber, and new life flourishes. In pagan rituals and celebrations, people may plant seeds, decorate eggs, or engage in other activities that symbolize fertility and growth.
The witch and her wardrobe
When costuming a witch, certain factors need to be considered. For starters, the black hair and broomstick thing is, frankly, passe. And when the witch in question is Jadis the White Witch from “The Chronicles of Narnia,” black would simply be the ultimate fashion faux pas.
“She’s the Ice Queen; she couldn’t be dark,” says Costume Designers Guild nominee Isis Mussenden, who says the character of Jadis, portrayed with fierce intensity by Tilda Swinton, was the greatest challenge of the job.
Mussenden spent months in the concept phase — because the other thing about dressing witches is that they’re not human, so such mundane tasks as actually getting dressed are irrelevant. “I didn’t want to think that she went into the wardrobe and pulled her dress out,” says the designer. “I didn’t even want to think that she has a closet!”
Dismissing Pauline Baynes’ beloved yet bland illustrations from the original C.S. Lewis books, Mussenden hit upon the missing element thanks to her son’s obsession with Pokemon, in which the game’s characters physically evolve over time. She envisioned the White Witch’s costume as an organic element that would similarly evolve and change colors. “We called it a mood ring,” she says. “It would blow up as she was feeling strong and deflate as her powers would disappear.”
Seven different icy-hued dresses were crafted from hand-felted wool and silk, with a lace overlay that was then burned for texture and depth. But this ice palette is not the glittering white of a department store North Pole; it’s the opaque aqua of icebergs and the steely blue of a frozen sea.
The dresses are imposing, beautiful and feminine — as befits an enchantress who can lure children to her castle with Turkish delight and the warmth of a fur mantle. Alexander McQueen was a design inspiration, and in fact, none of the garments would look out of place on the couture catwalk.
“We were not going to make her evil-looking,” says Mussenden; that was Swinton’s responsibility. Mussenden adds that the alabaster pale, otherworldly beauty will do “anything” to make a costume work, including, in this case, wearing no makeup, which for many fortysomething Hollywood actresses would be a deal-breaker.
Really, who needs makeup when you’re swathed in white fox, ritualistically adorned with black feathers, or dressed, literally, to kill, in what came to be called “the Aslan poncho”: a lion’s mane ruff (synthetic, of course) worn atop a titanium chain-mail skirt that took a week to weld together.
For the Ice Queen’s signature piece — her icicle crown — Mussenden collaborated with the New York City artist Hope Atherton, who uses textiles and taxidermy in her work. “Hope has this little thing in her brain that’s really macabre,” says Mussenden. “It takes her one step further into darkness.”
The designer had always imagined a crown of ice that would melt away, yet it was Atherton who conceived of icicles actually growing from the witch’s skull.
Mussenden widens her eyes. “I mean, shards of ice coming out of someone’s head! It’s just fantastic!” She continues, chuckling at the memory, “And then when I said, ‘OK, how are we going to make this?’ she said, ‘I don’t know, that’s your job.'”
It is a time to set intentions, start new projects, and embrace the energy of growth and renewal. Furthermore, the vernal equinox holds spiritual significance for many pagans. It is seen as a time of spiritual awakening and enlightenment. As the earth comes alive with new energy, it is believed that this energy can be harnessed for personal and spiritual growth. Many pagans take this time to connect with nature, meditate, and perform rituals that align them with the energy of the season. It is a time to embrace the vibrancy of spring and seek spiritual guidance and transformation. Overall, the vernal equinox holds great significance in pagan traditions. It marks the arrival of spring, symbolizes balance, and offers opportunities for growth, renewal, and spiritual connection. It is a time to celebrate the cycles of nature and embrace the energy of the changing seasons..
Reviews for "The Pagan Significance of Fertility and the Vernal Equinox"
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