Americans and Others

by Agnes Repplier

And not national life only, but individual life as well. Clothes are more than historical, they are autobiographical. They tell their story in broad outlines and in minute detail. Was it for nothing that Charles the First devised that rich and sombre costume of black and white from which he never sought relief? Was it for nothing that Garibaldi wore a red shirt, and Napoleon an old grey coat? In proof that these things stood for character and destiny, we have but to look at the resolute but futile attempt which Charles the Second made to follow his father's lead, to express something beyond a fluctuating fashion in his dress. In 1666 he announced to his Council—which was, we trust, gratified by the intelligence—that he intended to wear one unaltered costume for the rest of his days. A month later he donned this costume, the distinguishing features of which were a long, close-fitting, black waistcoat, pinked with white, a loose embroidered surtout, and buskins. The court followed his example, and Charles not unnaturally complained that so many black and white waistcoats made him feel as though he were surrounded by magpies. So the white pinking was discarded, and plain black velvet waistcoats substituted. These were neither very gay, nor very becoming to a swarthy monarch; and the never-to-be-altered costume lasted less than two years, to the great relief of the courtiers, especially of those who had risked betting with the king himself on its speedy disappearance. Expressing nothing but a caprice, it had the futility and the impermanence of all caprices.

Within the last century, men have gradually, and it would seem permanently, abandoned the effort to reveal their personality in dress. They have allowed themselves to be committed for life to a costume of ruthless utilitarianism, which takes no count of physical beauty, or of its just display. Comfort, convenience, and sanitation have conspired to establish a rigidity of rule never seen before, to which men yield a docile and lamblike obedience. Robert Burton's axiom, "Nothing sooner dejects a man than clothes out of fashion," is as true now as it was three hundred years ago. Fashion sways the shape of a collar, and the infinitesimal gradations of a hat-brim; but the sense of fitness, and the power of interpreting life, which ennobled fashion in Burton's day, have disappeared in an enforced monotony.

Men take a strange perverted pride in this mournful sameness of attire,—delight in wearing a hat like every other man's hat, are content that it should be a perfected miracle of ugliness, that it should be hot, that it should be heavy, that it should be disfiguring, if only they can make sure of seeing fifty, or a hundred and fifty, other hats exactly like it on their way downtown. So absolute is this uniformity that the late Marquess of Ailesbury bore all his life a reputation for eccentricity, which seems to have had no other foundation than the fact of his wearing hats, or rather a hat, of distinctive shape, chosen with reference to his own head rather than to the heads of some odd millions of fellow citizens. The story is told of his standing bare-headed in a hatter's shop, awaiting the return of a salesman who had carried off his own beloved head-gear, when a shortsighted bishop entered, and, not recognizing the peer, took him for an assistant, and handed him his hat, asking him if he had any exactly like it. Lord Ailesbury turned the bishop's hat over and over, examined it carefully inside and out, and gave it back again. "No," he said, "I haven't, and I'll be damned if I'd wear it, if I had."

Even before the establishment of the invincible despotism which clothes the gentlemen of Christendom in a livery, we find the masculine mind disposed to severity in the ruling of fashions. Steele, for example, tells us the shocking story of an English gentleman who would persist in wearing a broad belt with a hanger, instead of the light sword then carried by men of rank, although in other respects he was a "perfectly well-bred person." Steele naturally regarded this acquaintance with deep suspicion, which was justified when, twenty-two years afterwards, the innovator married his cook-maid. "Others were amazed at this," writes the essayist, "but I must confess that I was not. I had always known that his deviation from the costume of a gentleman indicated an ill-balanced mind."

Now the adoption of a rigorous and monotonous utilitarianism in masculine attire has had two unlovely results. In the first place, men, since they ceased to covet beautiful clothes for themselves, have wasted much valuable time in counselling and censuring women; and, in the second place, there has come, with the loss of their fine trappings, a corresponding loss of illusions on the part of the women who look at them. Black broadcloth and derby hats are calculated to destroy the most robust illusions in Christendom; and men—from motives hard to fathom—have refused to retain in their wardrobes a single article which can amend an imperfect ideal. This does not imply that women fail to value friends in black broadcloth, nor that they refuse their affections to lovers and husbands in derby hats. Nature is not to be balked by such impediments. But as long as men wore costumes which interpreted their strength, enhanced their persuasiveness, and concealed their shortcomings, women accepted their dominance without demur. They made no idle claim to equality with creatures, not only bigger and stronger, not only more capable and more resolute, not only wiser and more experienced, but more noble and distinguished in appearance than they were themselves. What if the assertive attitude of the modern woman, her easy arrogance, and the confidence she places in her own untried powers, may be accounted for by the dispiriting clothes which men have determined to wear, and the wearing of which may have cost them no small portion of their authority?

The whole attitude of women in this regard is fraught with significance. Men have rashly discarded those details of costume which enhanced their comeliness and charm (we have but to look at Van Dyck's portraits to see how much rare distinction is traceable to subdued elegance of dress); but women have never through the long centuries laid aside the pleasant duty of self-adornment. They dare not if they would,—too much is at stake; and they experience the just delight which comes from coöperation with a natural law. The flexibility of their dress gives them every opportunity to modify, to enhance, to reveal, and to conceal. It is in the highest degree interpretative, and through it they express their aspirations and ideals, their thirst for combat and their realization of defeat, their fluctuating sentiments and their permanent predispositions.

"A winning wave, deserving note,
In the tempestuous petticoat;
A careless shoe-string, in whose tie
I see a wild civility."

Naturally, in a matter so vital, they are not disposed to listen to reason, and they cannot be argued out of a great fundamental instinct. Women are constitutionally incapable of being influenced by argument,—a limitation which is in the nature of a safeguard. The cunning words in which M. Marcel Provost urges them to follow the example of men, sounds, to their ears, a little like the words in which the fox which had lost its tail counsels its fellow foxes to rid themselves of so despicable an appendage. "Before the Revolution," writes M. Provost, in his "Lettres à François," "the clothes worn by men of quality were more costly than those worn by women. To-day all men dress with such uniformity that a Huron, transported to Paris or to London, could not distinguish master from valet. This will assuredly be the fate of feminine toilets in a future more or less near. The time must come when the varying costumes now seen at balls, at the races, at the theatre, will all be swept away; and in their place women will wear, as men do, a species of uniform. There will be a 'woman's suit,' costing sixty francs at Batignolles, and five hundred francs in the rue de la Paix; and, this reform once accomplished, it will never be possible to return to old conditions. Reason will have triumphed."

Perhaps! But reason has been routed so often from the field that one no longer feels confident of her success. M. Baudrillart had a world of reason on his side when, before the Chamber of Deputies, he urged reform in dress, and the legal suppression of jewels and costly fabrics. M. de Lavaleye, the Belgian statist, was fortified by reason when he proposed his grey serge uniform for women of all classes. If we turn back a page or two of history, and look at the failure of the sumptuary laws in England, we find the wives of London tradesmen, who were not permitted to wear velvet in public, lining their grogram gowns with this costly fabric, for the mere pleasure of possession, for the meaningless—and most unreasonable—joy of expenditure. And when Queen Elizabeth, who considered extravagance in dress to be a royal prerogative, attempted to coerce the ladies of her court into simplicity, the Countess of Shrewsbury comments with ill-concealed irony on the result of such reasonable endeavours. "How often hath her majestie, with the grave advice of her honourable Councell, sette down the limits of apparell of every degree; and how soon again hath the pride of our harts overflown the chanell."

There are two classes of critics who still waste their vital forces in a futile attempt to reform feminine dress. The first class cherish artistic sensibilities which are grievously wounded by the caprices of fashion. They anathematize a civilization which tolerates ear-rings, or feathered hats, or artificial flowers. They appear to suffer vicarious torments from high-heeled shoes, spotted veils, and stays. They have occasional doubts as to the moral influence of ball-dresses. An unusually sanguine writer of this order has assured us, in the pages of the "Contemporary Review," that when women once assume their civic responsibilities, they will dress as austerely as men. The first fruits of the suffrage will be seen in sober and virtue-compelling gowns at the opera.