It is a fascinating study to move from the tight, artificial lines of Minoan costume through the barbaric effects in Mycenaean clothing to the structured geometric garments of the Archaic Greeks, and then to see the whole process blossom into the beautifully draped, idealized yet natural clothing of the Classical Greeks. Greek clothing at the height of the Classical Period is a great lesson in limitation, simplicity, balance, and proportion, using an idealized natural body (not its cloth covering) as the measure by which soft, subtle draping effects are achieved to enhance and extend the natural grace of that human body. Never in the history of man has such strong limitation in cutting and sewing achieved such beauty of effect.

          There were basically four distinct costume silhouettes in the development of Greek clothing from Minoan times to the Hellenistic: Cretan-Minoan, Mycenaean, Archaic, and Classical-Hellenistic. Minoan costume made itself felt primarily through the images of the snake goddesses with their artificial silhouette, fitted lines, and exaggerated presentation of the female form. The costume seems only vaguely related to certain Mesopotamian female images and hardly at all to the Egyptian, particularly since the effect was playful, sophis­ticated, and artificial with none of the dignity, grandeur, and strength found in human images from Mesopotamia and Egypt. The Minoans appeared to have had no interest in the folds of draped fabric, and the pinched waistline, ex­posed breasts, tiered skirts, and serpentine hair curls have an almost modern look, as if late Vic­torian dress were being parodied in a whimsical comedy. Even the early nude images of males have the same pinched waist and serpentine curled hair, and the overall image that remains of this culture is that of a sophisticated, playful, fun-loving people more interested in enjoying life than in expanding power over others or in documenting their strength as a culture.

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          It is a fascinating study to move from the tight, artificial lines of Minoan costume through the barbaric effects in Mycenaean clothing to the structured geometric garments of the Archaic Greeks, and then to see the whole process blossom into the beautifully draped, idealized yet natural clothing of the Classical Greeks.  Greek clothing at the height of the Classical Period is a great lesson in limitation, simplicity, balance, and proportion, using an idealized natural body (not its cloth covering) as the measure by which soft, subtle draping effects are achieved to enhance and extend the natural grace of that human body.  Never in the history of man has such strong limitation in cutting and sewing achieved such beauty of effect.