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Roman fashion was more than decoration: clothing, jewelry, color and scent could signal status, identity and political authority. The Power of Fashion in the Roman Empire, at Copenhagen’s Ny Carlsberg Glyptotek from 1 October 2026 to 29 March 2027, explores those meanings through sculpture, loans and sensory displays. Its reconstructed pink garment on a portrait of Tiberius is a striking example—but a modern rendering, not a guaranteed exact picture of the ancient statue.
What is the exhibition, and when can you visit?
The Ny Carlsberg Glyptotek presents The Power of Fashion in the Roman Empire in Copenhagen from 1 October 2026 through 29 March 2027. The museum describes it as the largest special exhibition on antiquity in its history, extending across more than 1,000 square metres. It brings together Roman sculpture from the museum’s collection and international loans to examine how clothing and jewelry expressed status, identity and power. Three contemporary interpretations by graduates of the Royal Danish Academy add a modern design perspective.
For dates, exhibition scope and visitor details, consult the Glyptotek’s exhibition page. Smithsonian Magazine reports that the exhibition contains 171 objects; that count is reported by Smithsonian, rather than stated on the museum’s English-language page.
Why is Tiberius shown in pink?
A central portrait of the emperor Tiberius anchors the exhibition’s exploration of color and authority. The museum says recent research revealed that the garment was originally a delicate shade of pink. Its reconstruction presents the color as part of a visual statement of power, luxury and divine authority—not as a modern-coded signal of gender. The point is not that pink had one universal meaning in Rome, but that present-day assumptions about color cannot simply be projected onto Roman imperial culture.
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The reconstruction should be understood as an evidence-based interpretation, not a photograph of the statue’s original appearance. Roman marble sculpture could be fully painted and gilded or colored selectively, but burial and later cleaning have left surviving pigments fragmentary and often altered. As the Metropolitan Museum of Art’s conservator Mark B. Abbe explains, “Such polychromy, which was integral to the meaning and immediacy of such works, survives today only in fragmentary condition.” The surviving traces can guide reconstruction without settling every detail of an original surface. See Abbe’s overview, “Polychromy of Roman Marble Sculpture”.
The exhibition’s curator, Cecilie Brøns, describes fashion research as a way to read portraiture in its social context: “Researching the fashion of antiquity gives us a key to understanding the portrait sculptures of the Roman Empire—who the people behind the sculptures were, as well as the kind of society and power structures they were part of.” Smithsonian Magazine’s account of the Tiberius reconstruction and exhibition is available at its 5 October 2026 report.
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How did clothing and appearance communicate authority?
In the exhibition’s framing, what a person wore—and how a sculptor represented it—helped make social and political identity visible. Garments, jewelry, drapery and color could mark status or role; they could also shape how viewers understood a leader. The portrait is therefore not just a likeness. Its treatment of dress offers clues about the society and power structures that the subject inhabited.
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The show connects these visual signals with written judgments about appearance. Twelve listening posts draw on writings by male Roman authors, including gossip, satire and sharp remarks about rulers’ looks. The museum uses those texts to explore how dress could become an argument about character, morality and leadership. Such comments reveal the perspectives of the writers, rather than providing a neutral account of what all Romans thought.
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What did Roman perfume smell like, and what did it signal?
Four scent stations, created by the Glyptotek with Danish skincare company Karmameju, interpret ancient perfume recipes and examine fragrance in relation to status and gender roles. The museum’s presentation describes questions such as which scents men and women preferred and how perfume could signal status and belonging. Smithsonian’s report describes floral notes associated with men on special occasions and stronger, more pungent perfumes associated with women. These are exhibition interpretations of historical evidence, not rules that applied to every Roman man or woman.
The displays make scent part of the exhibition’s argument: fashion’s signals were not limited to what could be seen in a portrait. The museum’s public material does not provide a complete set of ancient recipes, so the scent stations are best approached as interpretations rather than exact replicas of a single Roman perfume.
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Which objects and loans stand out?
Among the international loans are three Roman tunics from the British Museum and a portrait sculpture of Septimius Severus wearing lionskin boots, from the archaeological museum in Burdur, Türkiye. Smithsonian reports that the tunics had not previously left the British Museum and that the Severus sculpture was being shown outside Türkiye for the first time. Those first-time claims are attributed to the report and exhibition context; loan and display details can change.
The objects broaden the story beyond the Tiberius portrait, showing how garments and distinctive adornment contributed to the presentation of Roman figures. The museum’s exhibition page has the current overview: The Power of Fashion in the Roman Empire.
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Further reading
The Glyptotek also lists an English-language catalogue titled The Power of Fashion in the Roman Empire. Its exhibition page is the source for current catalogue information, as well as dates and visitor details.
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