In the heart of Chinese weddings during the 1980s and ’90s, an unexpected tradition unfolded: brides were tasked with lighting cigarettes for every male guest at the banquet as a gesture of appreciation. This peculiar custom, unknown to many, has recently come to light thanks to the keen eye of Thomas Sauvin, a French photography collector and editor residing in China for over a decade.

Sauvin stumbled upon a captivating image depicting a couple indulging in a hand-made cigarette bong at their wedding, sparking his curiosity about this overlooked aspect of Chinese culture. His journey into uncovering such forgotten traditions began in 2009 when he stumbled upon a treasure trove of discarded 35mm negatives in a Beijing landfill. Recognizing the value in these remnants of everyday life, Sauvin embarked on the Beijing Silvermine archival project, amassing an impressive collection of over 500,000 negatives spanning from 1985 to the early 2000s.

Driven by his fascination with the candid moments captured in these photographs, Sauvin dedicated months to meticulously combing through his archive in search of traces of the cigarette-lighting tradition. Unlike typical found-photography projects centered around individual lives, Sauvin found himself piecing together a broader narrative of a disappearing custom that continues to intrigue even contemporary Chinese audiences.

The culmination of Sauvin’s efforts is presented in a pocket-sized photobook titled “Until Death Do Us Part,” accompanied by a unique packaging of Double Happiness Cigarettes, a well-known Chinese brand often associated with weddings. Sauvin reveals that the 1,000 packs used for the book were sourced through a crowd-sourcing campaign on Chinese social media, further emphasizing the collaborative nature of the project.

Published by Jiazazhi, an esteemed independent photobook publisher in China, “Until Death Do Us Part” joins a distinguished roster of award-winning titles. Sauvin’s decision to partner with Jiazazhi was driven by a desire to ensure accessibility to Chinese audiences despite the challenges posed by the country’s stringent publishing regulations.

The reception of Sauvin’s work in China has been overwhelmingly positive, with 800 copies of the book sold within the first month, half of which were purchased by domestic readers. Sauvin reflects on the initial surprise expressed by Chinese audiences at his interest in seemingly mundane snapshots of recent history, but notes a shift in perspective as they delve into the unexpected narratives woven through his archive.

Beyond preserving vanishing customs, Sauvin sees his collection as a window into the lives of ordinary people, offering a nuanced portrayal of China that challenges Western stereotypes. Through his work, he hopes to bridge cultural divides and foster a deeper understanding of the complexities of Chinese society.

As the tradition of the hand-made cigarette bong fades into obscurity, Sauvin remains optimistic about the enduring significance of his collection in preserving a piece of history crafted by everyday individuals. He believes that by shining a light on these forgotten customs, there may be a chance to revitalize interest and keep these cultural traditions alive for future generations