Dress and jewellery

Amazigh fibulas of North Africa: jewellery and identity

Published June 24, 2025

It’s the most iconic piece of Amazigh jewellery in North Africa: the fibula or clothing fastener. From the Atlantic coast of Morocco to the oases of Libya, Amazigh fibulas are both functional and highly symbolic. What is more, they reflect regional identities, social structures, and even showcase connections between landscape, dress, and daily life. So, let’s have a look at these beautiful objects of adornment!

What are Amazigh fibulas? Use, names & regional styles

What are Amazigh fibulas used for? Fibulas basically serve as fasteners. You’ll find them used on a variety of garments, including outer wraps, shawls, and head coverings. Their forms vary by region and community, ranging from simple functional items to more elaborately worked items that may also carry symbolic meaning.

While you may find them repurposed into pendants, that is not how they were used originally: they really are pins!

That capacity of joining two things together is also why there is also a lot of informal ritual involving fibulas: see more about that here!

What is the correct term for Amazigh fibulas?

The term fibula is obviously not local; it comes from Latin, where it referred broadly to a clasp or brooch used to fasten clothing. The use of garment pins dates back much earlier, though – examples made from metal and bone have been found in Bronze Age contexts across Europe, the Mediterranean, and North Africa.

The specific form most common in North Africa today, the rotating ring-and-pin mechanism, is associated with Roman innovations in clothing fasteners. These Roman-era brooches, widely distributed across the empire, introduced a functional design that remained in use and was adapted across different cultures over time.

While fibula is the standard term used in archaeological and art historical literature, the objects themselves are known by a range of local names in Amazigh communities. In Morocco, they are referred to as tizerzai or tisernas; in Algeria, terms such as adwir or tabzimt are used; and in Tunisia and Libya, they are commonly known as khlel. These vernacular terms reflect linguistic diversity, but also a regional variation in design and use.

Anatomy of a fibula: ring, pin, head, and variation

The most common type of fibula found in North Africa is based on the penannular brooch design. That is a ring that is incomplete or open at one point. A typical fibula consists of three main components:

1. The head: a terminal or decorative element at the end of the pin;

2. The ring: a circular or penannular ring;

3. The pin itself.

These elements are visible in the illustration above.

The large crescent-shaped fibulas of Libya and Tunisia follow the same design, but have no head: in these types, the ring is aggrandized to the point where it also becomes the eye-catcher.

How do you actually fasten a fibula…?

That’s a question I get asked a lot – so, here is how! To fasten a garment, the pin is pushed through two the layers of fabric that you’ll want to secure together. Push the pin through and bring it back to the front by perforating the fabrics again: by pushing it through and through, you’ll end up with the head of the pin and its lower half visible on the outside of your garment. Once in place, rotate the ring so that the pin lies across the gap in the ring. Push the pin through the gap, and twist the ring so the opening moves away from the pin itself. The tension between the ring and the fabric holds the pin securely, preventing it from slipping out. This design allows the fibula to act as both a clasp and a visual feature of the garment.

Here is a quick video showing you how it’s done! (click this link, and then scroll down to the bottom of the page)

Amazigh fibulas and dress

Obviously, fibulas are integrated with the textiles they secure. That in turn tells you a lot about those textiles just by looking at the pins themselves. Heavier, more substantial fibulas are used with robust fabrics, while lighter versions suggest finer or differently structured cloth.

The outer garments they secure are wraps: garments that envelop the body and shoulders. In winter, these would be heavy, wool wraps, and in summer they might be lighter fabrics.

You will notice that the heads of the fibulas are the heaviest part of the piece. That tells you where they would have been placed: not at the upper end, as you often see them in books, but at the lower end. The pins themselves stick out upwards, the head is pointed downwards. That is an important difference between theory and practice: fibulas are almost invariably depicted with their heads upwards and their pins downwards, but that is not how they would have been worn in real life!

How fibulas reflect Amazigh identity

Fibulas are part and parcel of the cultural practices of Amazigh communities. They are not simply adornments, but part of a broader visual and symbolic language that links body, clothing, architecture, and environment. And you know that is how I love to study jewellery: in its cultural context!

Because this allows us to understand how material culture communicates identity, memory, and place, rather than just admiring them as beautiful objects in a showcase.

This interconnectedness is of course very evident in recurring patterns and motifs. The same geometric forms found on fibulas frequently appear on carpets, blankets, pottery, and woodwork, suggesting a shared visual vocabulary across media.

But there is much more. Fibulas offer further insights into the world of their wearers, especially through the design of the pin head or terminal. This is the most visually prominent part of the fibula, and it often serves as a marker of regional or communal identity. Its shape and decoration vary by area, village, or group, allowing the piece to signal belonging and local affiliation.

These terminal forms often reference features from the wearer’s environment. They literally show us what that environment looked like, or what iys wearers considered important.

Some derive from animal forms, for example, the ram’s head motifs found in fibulas worn by the Ihahen of coastal Morocco, which may evoke associations with pastoral life. Others reflect built structures: domed tombs, arched doorways, or the stepped crenellations of kasbah walls.

These visual echoes suggest that fibulas do not only exist in relation to the body, or even just in relation to dress, but also participate in a wider cultural landscape – drawing meaning from the world around them and embedding that meaning into daily dress.

How fabulous is that, when your dress and jewellery fit into your surroundings…?

Amazigh fibulas today: living heritage & revival

Although Amazigh fibulas are no longer commonly worn in daily life, they still carry meaning. They are living heritage, and continue to be produced for ceremonial use, like local festivals, as well as for tourist markets. The fibula itself appears on beauty products, metalwork, and doors. It has grown into a symbol of Amazigh identity, notably in the diaspora – Amazigh fibulas of North Africa are still deeply meaningful and continue to evolve.

—

Find out more about the symbolism of jewellery in the e-courses!

More posts on amulets, charms and magic? Browse them all here!

Join the Jewellery List and receive new articles, jewellery news and more in your inbox!

—

References

Read more on fibulas and their cultural meaning here (not exhaustive, there is much more out there!):

Benfoughal, T. 1997. Bijoux et Bijoutiers de l’ Aurès. CNRS Editions, Paris

Cheylan, G. (ed.) 2007. Coutumes et décors de Tunisie. Ceres Éditions, Tunis

Eudel, P. 1906. Dictionnaire des Bijoux d’Afrique du Nord. Maroc, Algérie, Tunisie, Tripolitaine. Ernest Léroux, Paris

Gargouri-Sethom, S. & J. Pérez 2005. Les Bijoux de Tunisie. Dunes Editions, Tunis El Hafsia

Ghellali, H. 2024. Jewellery and Adornment of Libya. Blikveld Uitgevers Publishers, Zandvoort

Tamzali, W. 1984. Abzim. Parures et Bijoux des femmes d’Algérie. Dessain et Tolra, Entreprise algérienne de presse, Algers

The Bedouin Silver blog gives credit where credit is due! Transparent referencing and citing sources helps us all grow. Would you like to do the same and quote this article? Here’s how:

S. van Roode, [write the title as you see it above this post], published on the Bedouin Silver website [paste the exact link to this article], accessed on [the date you are reading this article and decided it was useful for you].