Visiting the Sargent and Fashion Exhibition at Tate Britain is not just an opportunity to admire world-renowned portraits; it offers a unique chance to engage with figures who once felt like mere acquaintances. As you immerse yourself in this captivating experience, you’ll leave with a newfound connection to these artistic personalities, feeling as though you’ve built lasting friendships with them.

The emotional interplay between various art forms is often highlighted—music and literature being the most common examples—but the fusion of portraiture and fragrance creates an intimate connection that is hard to overlook. Those who are passionate about scents understand how a certain aroma can evoke profound emotional responses. A fragrance can express parts of our identity, revealing aspects we may not openly articulate to strangers—an intimate dialogue that transcends words.

As we explore the exhibition, we feel a genuine sense of inclusion in the creative process. This connection is enriched by the clothing and accessories displayed alongside the portraits. Many of these garments were worn by the sitters during their sessions with Sargent, and exhibition notes reveal that he often designed outfits in collaboration with prestigious fashion houses like Worth. Attendees did not simply arrive as they were; they were encouraged to present their true selves through carefully considered attire. The exhibition guide insightfully notes:

‘Sargent and his sitters thought carefully about the clothes that he would paint them in, the messages their choices would send, and how well particular outfits would translate to paint. The rapport between fashion and painting was well understood at this time: as one French critic noted, ‘there is now a class who dress after pictures, and when they buy a gown ask ‘will it paint?’’’

While I am enthusiastic about the exhibition—an experience that has left a lasting impression on me—I must express my frustration with certain reviews from art critics who seem to dismiss the significance of these extraordinary artifacts. Their critiques imply that the clothing detracts from the portraits, labeling them as mere ‘old rags’ or ‘glittery baubles’ without recognizing their importance in understanding Sargent and his sitters. This dismissive attitude towards women’s fashion reflects a troubling trend of underestimating the value of women’s choices and experiences.

Such a conclusion is not only myopic but also rooted in a disturbing form of misogyny, akin to literary critics who trivialize female authorship by labeling their work as ‘chick lit’ simply because it explores women’s lives. It’s crucial to understand that the exhibition’s title, Sargent and Fashion, emphasizes the intimate relationship between clothing and portraiture. Women have historically been scrutinized for their fashion choices, and this exhibition vividly illustrates how Sargent and his sitters subverted societal judgments through their attire and poses, challenging contemporary norms that often led to scandal.

‘Sargent initially depicted Gautreau in a tightly silhouetted black gown, with chained straps doing very little to conceal her pearlescent shoulders and décolletage. In fact, originally, Sargent chose to drape one strap down Gautreau’s arm; this inadvertently caused further outrage. To spectators past, it was a brazen attempt to barely veil Gautreau’s body, suggesting that if one strap can breezily slip, so can the rest.’

To claim that clothing is irrelevant to the portraits is to overlook the deep societal implications tied to fashion. Virginie Amélie Avegno Gautreau, the subject of this famous portrait, faced intense public scrutiny, leading her to seek anonymity behind her painted likeness, ultimately becoming Madame X. The layers of meaning embedded in these choices reflect the complexities of identity and the powerful narratives woven into the fabric of these artworks.

These critics, cloistered in their own narrow perspectives, seem oblivious to the significance Sargent placed on the garments. He designed many of these outfits himself and made deliberate choices about how they would be displayed within the portraits. It’s no surprise that they missed the wealth of meaning embedded in the clothing, as they appeared more interested in discussing their social calendars than engaging with the art. Their dismissive attitudes serve only to undermine the rich narratives that these portraits convey.

I won’t be linking to their scathing yet ultimately shallow reviews, as they do not deserve further attention. Moreover, I doubt they would ever engage with something as ‘frivolous’ as connecting fragrance to portraiture. Those of us who appreciate the emotional depth of art know that it enhances our lives in ways that they may never comprehend.

Let them continue their narrow critiques while we experience the exhibition for ourselves. Imagine what fragrances the people depicted in these portraits might have chosen to wear! Such musings can unveil deeper layers of understanding about both the subjects and ourselves, revealing complexities that even Sargent may not have fully grasped.

Fragrance has the power to illuminate hidden truths. The right scent, worn at the right moment, can unveil secrets or envelop us in mystery. It serves as an emotional X-ray, offering insight into our innermost selves or functioning as a costume that we can don to express our identities.

The women captured in these portraits are not mere passive muses; they are accomplished individuals—artists, poets, academics, and philosophers—who share a partnership with Sargent, the fashion designers, and with us as viewers. Just as a specific fragrance can communicate our inner selves to the world, influencing how others perceive us, these portraits transcend mere aesthetics to convey profound narratives that resonate deeply.

By thoughtfully selecting a scent based on how it resonates with our emotions, we transition from passive consumers to active participants in a relationship with the perfumer and the broader creative process. When we connect scents with Sargent’s beautiful portraits, we foster a deeper understanding of the emotions each fragrance can evoke. I encourage you to explore this pairing exercise during your next museum visit or social gathering—consider what fragrance you would choose for your friends and what that choice reveals about their personalities and your perceptions of them.

Having gained a richer understanding of Sargent as an individual—not just as an artist—and of the people behind the portraits during this profoundly enriching exhibition, I believe he would appreciate this connection. He might have even commissioned bespoke fragrances, working closely with perfumers to create scents that capture the essence of the individuals he painted.

While I have more fragrance pairings inspired by this exhibition than I can detail in one article, I will conclude by sharing five perfumes that resonate with the personalities of portraits that particularly moved me. What I truly want to know is: which fragrances would you select for these characters, having engaged with them in the exhibition? How would these scents reflect their essence, their clothing, and the mood conveyed in their portraits?

The Sargent and Fashion Exhibition is on display at Tate Britain until 7 July 2024. Admission is free for Tate members, and it is certainly worth every penny for non-members.

Guerlain Apres L’Ondee £108 for 75ml eau de parfum guerlain.com