Robe in Ritual

Many years ago, I read an article, written by Marilyn Monroe’s make-up man, describing the transformation that took place during her make up sessions. Little Norma Jean would sit down to the table, letting the artist do his work, and the character of Marilyn Monroe would almost seem to possess her as she emerged in full make up. ‘Getting into Character’ is a phenomena well known among actors. This phenomena also takes place among ordinary people when they dress up for special occasions, whether it is a job, opera, or costume party.

Western ritual magick is also a theater in its own way, and the costume is often a robe. Historically, western magicians wore robes, as well as masks, to preserve their identities. A robe, more than any other garment, fits loosely enough to make the details of the body less distinct Except in conditions of extreme physical features, it would be difficult to identify a particular person among a group wearing identical robes and masks.

In modern times, identity preservation is not quite as important as it once was. It is still practiced, especially in places with a high level of prejudice against any kind of magical practice where allowing an outdoor ritual to be witnessed could lead to persecution of the practitioners, but by and large the robe is now used for different reasons.

One of the reasons is simply tradition. People following the practices of magicians of the past will often imitate the style of robes used in those times, by those people. Another reason is for getting into character, as described at the beginning of this article. Some modern magical groups use identical robes, but more often solitary practitioners and individuals within groups will be found wearing robes to suit their individual tastes. Many magicians work unclothed, at least in some situations. There are situations where this is very appropriate, such as initiations where a feeling of complete vulnerability is required. For general ritual purposes it is a matter of individual choice, but those who forego the robe may be missing out on an opportunity to excite the senses in a very basic manner.

Anyone who practices ritual magick should realize the value of stimulating the various senses. It is common to burn incense to excite the sense of smell, to drink wine as sacrament and play unusual music, bringing taste and hearing into play. Visually, the arrangement of the altar and appropriately colored candles play their part, and yes, either elaborately designed or simple, somber robes add to the visual appeal of the ‘Temple’. But the robe has another function, often not consciously noted by the practitioners. I have not yet mentioned the sense of touch. Some groups and individuals use sexual stimulation in some form to bring this important sense into play, but this is not always appropriate.

A ritual robe should be worn alone, with nothing under it. If the robe is made of a soft cloth, one that is heavy enough not to cling to the body, then the movements of the practitioner, perhaps in dance or just ordinary movements, will cause the fabric to gently touch the otherwise naked flesh, exciting a subtle sensuality.

The unpredictable light touches of the cloth, not just on the obvious sexual receptive areas but also on the arms, thighs and wherever the fabric may fall, cause subtle tingles of the nerves and slowly serve to raise the Kundalini energy in a manner not possible with auto-eroticism or partnered sex. The desire rises slowly, and if the magician is sufficiently disciplined to allow the energy to follow its course without dissolving into an animal in rut, the release will also be subtle but very powerful.

This in itself is also a form of auto-eroticism in ritual, but it uses the subtle subconscious as a Spare sigil would do, yet using the most powerful sexual energy available to the magician.

All things considered, the robe is a vital piece of ritual equipment. It can be easily made by the practitioner with minimal sewing ability, or made to order for the non-sewing practitioner which is almost as good. The personal energy put into choosing a style and color, plus any extra forms of decoration makes this tool as personal (if not more) than any of the altar tools which the magician may also have constructed him/herself. Also, being closest to the body during ritual charges the robe with the magicians energy in its most direct form.

There are many situations in which I work ‘skyclad’ or ‘clothed in darkness’, but in general I consider my robe a vital piece of ritual equipment.