How Does Nora's Clothing Change Throughout The Play

Torvald tends to control many parts of Nora’s life, one of which is how she dresses. Her penchant to wear clothes not for the sake of personal expression, but rather to indulge Torvald’s fantasies, criticizes her lack of agency in their marriage. Clothing is often seen as a way for one to express themselves, hence, by controlling that, Torvald is essentially treating Nora, similar to a how a child treats his dolls as he dresses them up and plays with them. In Act one, Nora is seen asking Torvald to help her find a costume for the upcoming fancy-dress party. She states, ““I can’t think of anything that will do“ and since “no one has such good taste as you have” Torvald, couldn’t you decide, “what my costume’s to be?” (178)”. Ibsen uses this

Instead, he finds her dance at the ball sexually titillating as “it sets [his] blood on fire till [he] can’t bear it any longer” (215). Torvald “take[s] Nora’s shawl off” and displays her to Mrs. Linde as if she were not a human being, but a prized possession meant to be marveled at. In that, he once again forces Nora into the role of a mere object whose only function is to satisfy him. Nevertheless, the sensual tone shifts as Torvald finally discovers the detail of Krogstad’s letter. Furious, he sentences Nora to a life of exile, in the way that she will not interact with him or the children. However, he quickly retracts this statement as soon as he receives another letter from Krogstad, liberating Nora from any culpability. But the damage has been done. Nora goes upstairs, “Taking off [her] fancy dress” (223), and changing into “her everyday things” (224). The change in clothing is a visual transformation of Nora’s attitude as she realizes that Torvald and her marriage was not a meeting of the hearts and minds, but a performance. She was simply a casualty of societal obligations, married to a man who is essentially a stranger, stuck in a doll’s house. By shedding the dress of Torvald’s preference, she is shedding the constraints put on her by him and society alike. Nora is finally taking the first step to self-actualization as adopts the persona of an independent woman. Ibsen emphasizes this character development through the contrast in the exposition and denouement. Nora enters the stage in her “outdoor clothes” (147) and proceeds to take them off, feeling comforted and secure in her dollhouse. As she discovers her subordinate role as Torvald’s doll, she once again puts on her “outdoor clothes” (231), rejecting the security of her home, and stepping into the cold, harsh world in hopes of becoming her own