This compact but intriguing exhibition presents a collection of traditional jewellery and dress from Oman and other Near Eastern nations. These exquisite objects date largely from the 1950s and 1960s, providing an invaluable and surprising dimension to an exhibition that offers a unique glimpse into the role of self-adornment in the formation of social and personal identity.

Intricate and ornate metalwork is displayed alongside striking examples of traditional dress in vibrant fabrics. Each piece is presented primarily as an object of beauty, something to be gazed at and appreciated for its aesthetic allure. The visual impact of these items has been carefully emphasised as we are invited to admire their workmanship and recognise their physical appeal; necklaces are chunky and dripping in coins and amulets, fabric is delicately embroidered in gorgeous colours, and all are exhibited in cases that allow for a 360-degree view. If I were to choose one piece, it would have been an exquisitely carved mother-of-pearl belt-clasp from Bulgaria, or an Omani necklace, laden with coral and silver coins. The most surprising item is a necklace that appears to hold a striking red stone, but which actually incorporates a bicycle reflector, proving that not all that glitters is gold!

Where the exhibition succeeds in stimulating the eye, its real achievement is in its elucidation of the social importance of these objects for both everyday and celebratory events. It shows how jewellery and dress adorn whilst simultaneously acting as cultural signifiers; marking important rites of passage such as marriage, designating status and wealth, or performing an apotropaic function by protecting their wearer whilst beautifying them. In revealing the centrality of dress to the formation of identities within these selected cultures, this exhibition asks us to consider our own attitudes to self-adornment and display.

Until Sep 11

RUTH ALLEN