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It was not beautiful in the way my aunt considered her own gold earrings beautiful. But there was a quiet declaration. A kind of defiant beauty. It shifted something in my understanding of adornment, pulling it far from the familiar, the expected.

The human impulse to adorn oneself often navigates paths less trodden. We speak of materials that endure, those resistant to water, to time's slow corrosion. Yet, what of adornments that are themselves living, or crafted from things most would discard? Consider the *kheuang*—the brass neck rings of the Kayan Lahwi women in Myanmar. These rings, applied progressively from childhood, create the optical illusion of an elongated neck, pushing down the collarbones. A unique architectural alteration of the body, less about a discrete object and more about an evolving form. It is a commitment, profound and indelible.

Or the unexpected choice of material itself. For centuries, across parts of India and Southeast Asia, the iridescent wings of jewel beetles (*Buprestidae* family) have been meticulously stitched into textiles and jewelry. Their metallic green and blue sheen, a natural marvel, provides a glimmer that artificial pigments cannot replicate. Each wing, a tiny, fragile shield of colour. A fleeting permanence, perhaps. Think also of Victorian hair jewelry. Not a gold chain, but intricate braids and weaves of human hair, often from a departed loved one, enshrined in lockets or pins. A poignant, visceral connection. A silent testament.

These adornments are not merely decorative. They speak. Of identity, of belonging to a specific lineage or belief system. Sometimes, a silent affirmation of status, or a protective amulet. The elaborate dental inlays of the ancient Maya, for instance, where jade or pyrite discs were carefully fitted into teeth. Painful, certainly. Yet, it was a display of wealth, of cosmological connection, enhancing the wearer's perceived beauty. A visible prayer.

Such expressions underscore a profound truth: what constitutes beauty, what signifies value, is not a universal constant. It is fluid. It adapts to the desert wind, to the jungle's humidity, to the intricate tapestry of a community's history. These choices, sometimes demanding radical self-transformation, other times employing the most improbable natural elements, reveal a persistent, unwavering human desire. To be seen. To articulate oneself, in ways that transcend mere words. This is adornment, unvarnished.

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