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And she noted during a walk-through of the exhibit a day before Wednesday’s opening that Freud himself was a fashionista, in rigidly conventional English-style suits made of the best materials and tailored to perfection.

While Steele, 69, has never spent time on , she’s been intrigued by the practice’s interplay with fashion for quite some time.

鈥淓ver since I was in graduate school, when I started to focus on the history of fashion, it seemed to me that despite all of the dead ends and real problems with psychoanalysis, it did provide clues to explaining the power and allure of fashion, as well as the hostility that is addressed to fashion,鈥� she said.

Here are some takeaways from the exhibit, 鈥淒ress, Dreams & Desire: Fashion and Psychoanalysis,鈥� which runs at the Fashion Institute of Technology’s museum from Sept. 10 to Jan. 4. Steele has written a companion book due out in November.

Father of psychoanalysis as fashion darling

Historian Peter Gay once wrote: 鈥淲e all speak Freud, whether we know it or not.鈥� Fashion is no exception.

As the exhibit notes, Marc Jacobs put out a simple dress in 1990 called the 鈥淔reudian Slip.鈥� It was emblazoned with the image of Freud. John Galliano created a collection for Dior called 鈥淔reud or Fetish鈥� in 2000. It was an exploration of sexual fantasy.

鈥淚 am trying to symbolize what fetishism evokes in the psychology of clothing,” Galliano said in his show notes.

Prada, meanwhile, debuted a film at the Cannes Film Festival in 2012 titled 鈥淎 Therapy.鈥� It was directed by Roman Polanski and features Helena Bonham Carter as patient and Ben Kingsley as psychoanalyst. At one point, the analyst dons his patient’s fur coat and gazes at himself in a mirror as we hear her ask: 鈥淲hat does it all mean?鈥�

Mirrors and Schiaparelli

The exhibit includes a cropped black velvet jacket that Elsa Schiaparelli created back in 1938. It’s called the 鈥淗all of Mirrors,鈥� for trompe l鈥檕eil gold and silver mirrors at the breast with glass sequins and buttons that evoke classical busts.

It was a meditation on how women were culturally perceived.

Steele said the jacket has sometimes been interpreted as a reflection of French psychoanalyst Jacques Lacan’s 鈥渕irror stage” of body image development. A baby looks in a mirror, the theory goes, and sees a whole person rather than a collection of fragmented parts. But wholeness, Lacan believed, is illusion.

Schiaparelli, who died in 1973, spoke about a mother’s gaze as a child’s first mirror, and how her own mother often declared her ugly to the point that she sometimes failed to recognize herself in a mirror.

So many phallic symbols, so much time

Freud was way on board when it came to phallic symbols, especially in dreams and broad cultural contexts.

Hello, top hats and stilettos, the ultimate phallic representations in fashion, Steele said. The exhibit explores desire and sexuality, including the idea of the 鈥減hallic woman.鈥� Steele included one of Jean Paul Gaultier’s 鈥渃one-bra鈥� dresses, back in the day with protruding cones, or bullets, at the breast.

Freud certainly didn’t invent the concept of phallic symbols or female sexual symbols.

鈥淭hese have existed for millennia everywhere from ancient Rome to ancient India, but he saw them as being a crucial part of the human individual unconscious,” Steele said.

Fashion and the naked body

Freud saw clothes as loopholes for women to get around the idea of nudity as shameful. It’s an idea that plays out on runways today. A replica of the famous, that Jennifer Lopez wore to the 2000 Grammys is in the exhibit. then proliferated on red carpets and fashion shows.

鈥淥ne of Freud’s ideas was that people wanted to show off their naked bodies and their genitals,鈥� Steele said.

It started with a bit of bosom and arm in evening dresses, moving on to a splash of legs in the 1920s and bare backs in the ‘30s.

British psychologist and psychoanalyst John Fl眉gel and, later, fashion historian James Laver in the ‘30s wondered whether erogenous zones in fashion shifted to maintain the male gaze. Not so, Steele said.

The Hays Code was a more likely culprit in some cases. From 1934 to 1968, guidelines enforced by the Motion Picture Producers and Distributors of America dictated what could and could not be shown on screen.

The idea of backs as sexy, for instance, evolved precisely because they were shown, Steele said.

Fashion as a second skin

Fashion is often referred to as a second skin. In the second of two rooms in the exhibit, curators demonstrate how it’s so much more.

What we wear, Steele said, 鈥渃an be holding you like a hug. It can be protecting you like armor. And it can be sexualizing, either by framing bits of the naked body or by emphasizing, say, the curves and the muscles of the body.”

Look no further than a red leather bustier by Issey Miyake from 1983, or a dress by Rei Kawakubo that demonstrates her use of structures that architecturally encase the body.

Contemporary French psychoanalyst Pascale Navarri, quoted in the exhibit, said it this way: 鈥淲hat the look of fashion exposes is, simultaneously, our vulnerability about being seen and not being seen.鈥�