Cursed Objects, Cursed Women: The Fear of the Feminine in Myth and History

Throughout history, patriarchal societies have associated women and their possessions with danger, corruption, and the supernatural. From mirrors and jewellery to clothing and personal artefacts, objects linked to femininity have been imbued with superstition, reflecting deeper societal anxieties about female autonomy and power. This pattern, repeated across myth, folklore, and historical events, reveals how women have been vilified and controlled through the very objects they possess. These associations are not just relics of the past but continue to resonate in contemporary culture, highlighting the ongoing tension between female empowerment and societal control.

Mirrors: Portals to Evil or Reflections of Power?

Mirrors have long held a special place in cultural narratives about women and power. The connection between mirrors and the supernatural is particularly evident in Greek mythology. The myth of Medusa, for instance, portrays the danger of female beauty and power, with Perseus using a mirror to avoid direct eye contact with the Gorgon and thereby escaping her petrifying gaze. This cautionary tale speaks to an enduring fear: the belief that a woman’s power, symbolised through her image or beauty, could be dangerously transformative. In European folklore, mirrors were frequently associated with portals to other realms. Women who gazed into them too often were seen as risking vanity or, worse, opening doors to madness or demonic possession.

This association between women, mirrors, and the supernatural continued into the Victorian era, when spiritualist movements grew in popularity. Women, often the primary participants in séances, were believed to be especially vulnerable to supernatural forces, with mirrors playing a key role in communication with spirits. Even today, horror films often use mirrors to symbolise female self-perception gone awry, echoing historical anxieties about women’s autonomy. Women who engage with their own image too much, whether in vanity or self-reflection, are often depicted as descending into madness, as seen in films such as The Mirror (2016). This reflection of deep-seated societal fears about the dangers of female power is further demonstrated by the long-standing trope that mirrors are dangerous objects when placed in the hands of women.

Jewellery: Adornment or Enchantment?

Jewellery, another object intrinsically linked to femininity, has also been imbued with similar superstition and suspicion. Take the case of the Hope Diamond, infamous for its supposed curse, which has allegedly caused misfortune for all its owners. The association between women’s jewellery and misfortune is not limited to popular myths, but extends to historical examples of women accused of using adornments for malicious purposes. In the 16th century, for instance, women were often accused of poisoning men with rings or other jewellery, reinforcing the stereotype of the ‘scheming temptress’ who uses beauty and wealth to manipulate male power structures.

This narrative continues to thrive in popular culture. Femme fatales, often depicted draped in luxurious jewellery, are portrayed as both seductive and lethal. These depictions suggest that women, when in control of material wealth, can wield that power destructively. Beyond individual examples, larger societal fears also manifested in folklore, where jewellery—whether necklaces, engagement rings, or brooches—was often considered cursed or dangerous. The tradition of cursed jewellery, such as the infamous tale of the "cursed ring" in European folklore, reflects a cultural belief that femininity combined with wealth can lead to instability. In these stories, jewellery isn’t just an accessory; it’s a source of turmoil, reinforcing the idea that a woman’s power—when materialised—becomes both corrupting and dangerous.

Clothing: Fashion and the Fear of Women’s Liberation

Women’s clothing has always been a focal point for societal control and moral judgment. Patriarchal societies, particularly during the 19th and 20th centuries, imposed strict dress codes on women, viewing certain styles as dangerous or transgressive. The Victorian moral panic over corsets, for instance, went beyond health concerns, symbolising anxieties about women’s increasing autonomy. The tight lacing of corsets was seen as not only physically harmful but as a sign of women’s growing desire to control their own bodies, an unsettling prospect for many at the time.

In the 20th century, the rise of the mini skirt and the bikini stirred similar outrage, as they represented women’s rebellion against traditional standards of modesty. These articles of clothing weren’t just seen as fashion choices; they were viewed as symbols of sexual liberation and a direct challenge to patriarchal control. Today, we continue to see similar debates around modesty, dress codes, and women’s clothing choices. For example, young women’s clothing in schools or workplaces is often scrutinised, with the ‘appropriate’ level of coverage being policed. These dress codes reflect ongoing attempts to control female bodies, reinforcing traditional gender roles and limiting women’s autonomy.

A particularly relevant example of the scrutiny placed on women’s clothing choices can be seen in the witch hunts of early modern Europe. Many women accused of witchcraft were targeted for their unconventional dress. Red garments, for instance, were often associated with seduction and danger, reinforcing the notion that women who defied social expectations were a threat. The societal fear of women’s clothing continues to manifest today in the way that women in positions of power or influence are criticised for their fashion choices, often used to undermine their authority. For instance, the media’s obsession with scrutinising female politicians’ clothing is a modern-day reflection of this historical control over women’s appearance and, by extension, their power.

Witchcraft and the Weaponisation of Objects

The fear of women possessing dangerous objects reached its peak during the witch hunts of the early modern period. During these witch hunts, women were accused of using everyday items—such as dolls, cauldrons, or knitting needles, to cast spells or harm others. These objects, once ordinary household items, were imbued with mystical significance simply by virtue of being associated with women. The broomstick, perhaps the most iconic of these objects, was originally a mundane tool used for sweeping. However, the association of broomsticks with witches, particularly the belief that witches could fly on them, emerged from a mix of misogyny and fear of female independence.

The broomstick became a symbol not just of domesticity but of the perceived danger of women asserting control over their own lives and bodies. Women who lived outside traditional social structures, often unmarried women or those who were financially independent, were often accused of witchcraft. These accusations were rooted in the fear that women who rejected societal norms posed a threat to the patriarchal order.

Similarly, women who were midwives, herbalists, or healers were often accused of witchcraft because their knowledge of medicine and plants gave them power that was not subject to male authority. These women were seen as a threat to male-dominated institutions like the church and the medical profession. The fear of women’s knowledge and independence, embodied in everyday objects like herbs or sewing needles, contributed to the widespread persecution of women during the witch hunts.

The Role of Cursed Objects in Contemporary Culture

Even in modern culture, the association between femininity and cursed or dangerous objects endures. The trope of the cursed wedding dress or the haunted doll is prevalent in contemporary horror films, where objects associated with women are often portrayed as vessels for malevolent forces. These modern depictions continue to reflect the historical fear of female autonomy, highlighting the lingering belief that women’s possessions are not just material goods but conduits of power, both dangerous and transformative.

Furthermore, the language used to describe ambitious or powerful women today often echoes the historical fears surrounding dangerous objects. Women who step outside traditional gender roles are frequently labelled as ‘manipulative,’ ‘toxic,’ or ‘seductive,’ terms that mirror the old fears of women using their power to corrupt. In this way, the mythology of cursed objects is not just an ancient belief but a modern-day metaphor for how society continues to police and villainise powerful women.

Conclusion: The Persistence of Fear

The fear of the feminine, and the objects associated with it, is not a relic of the past. It continues to manifest in modern society, from the scrutiny placed on women’s appearances to the enduring tropes of the ‘dangerous’ seductress and the ‘cursed’ woman. The myth of the cursed object is, in many ways, a metaphor for the way society has historically treated women: as alluring yet dangerous, powerful yet suspect, and ultimately something to be controlled. These deeply ingrained fears reflect not just a desire to suppress women but a recognition of the deep and often terrifying power that femininity, in its myriad forms, can hold.

By understanding the historical roots of these superstitions, we can begin to challenge the narratives that seek to control and vilify women. The objects once feared as symbols of corruption and danger can instead be reclaimed as emblems of empowerment and resistance. Women’s autonomy, in all its forms, should no longer be seen as a curse but as a force to be reckoned with, one that can shape the future for generations to come.