Being a species with no fur, scales or feathers, oddly disposed hair and unique self-consciousness about our sexual parts, we turn to clothes. Clothes, by clinging, squeezing, covering, exposing, draping and padding, by following the body here and billowing away from it there, by making what is round straight, what is soft firm and what is dull bright, offer a critical commentary on the flesh beneath. Bodies differ from place to place and race to race, from person to person and from fat times to lean. Clothes battle against these differences. They help bodies to conform to norms of what is decent, impressive, dignified, lovely, erotic or charming. Fashion history studies the way the norms change, and how in doing so they can shock, titillate or coerce. Fabric of Vision: Dress and Drapery in Painting, an exhibition at the National Gallery until 8 September, engages with what happens when the presentation of self by clothing is itself represented in pictures. The historical range is wide: from Byzantine linear patterning to Cubist prismatics, and from draped toga-like cloaks to modern suit and tie.

LRB 11 July 2002 | PDF Download