Household Papers and Stories

by Harriet Beecher Stowe

“There are, again, modes of dress in themselves very beautiful and very striking, which are peculiarly adapted to theatrical representation and to pictures, but the adoption of which as a part of unprofessional toilet produces a sense of incongruity. A mode of dress maybe in perfect taste on the stage, that would be absurd in an evening party, absurd in the street, absurd, in short, everywhere else.

“Now you come to my first objection to our present American toilet,—its being to a very great extent inappropriate to our climate, to our habits of life and thought, and to the whole structure of ideas on which our life is built. What we want, apparently, is some court of inquiry and adaptation that shall pass judgment on the fashions of other countries, and modify them to make them a graceful expression of our 401 own national character, and modes of thinking and living. A certain class of women in Paris at this present hour makes the fashions that rule the feminine world. They are women who live only for the senses, with as utter and obvious disregard of any moral or intellectual purpose to be answered in living as a paroquet or a macaw. They have no family ties; love, in its pure domestic sense, is an impossibility in their lot; religion in any sense is another impossibility; and their whole intensity of existence, therefore, is concentrated on the question of sensuous enjoyment, and that personal adornment which is necessary to secure it. When the great ruling country in the world of taste and fashion has fallen into such a state that the virtual leaders of fashion are women of this character, it is not to be supposed that the fashions emanating from them will be of a kind well adapted to express the ideas, the thoughts, the state of society, of a great Christian democracy such as ours ought to be.

“What is called, for example, the Pompadour style of dress, so much in vogue of late, we can see to be perfectly adapted to the kind of existence led by dissipated women whose life is one revel of excitement; and who, never proposing to themselves any intellectual employment or any domestic duty, can afford to spend three or four hours every day under the hands of a waiting-maid, in alternately tangling and untangling their hair. Powder, paint, gold-dust and silver-dust, pomatums, cosmetics, are all perfectly appropriate where the ideal of life is to keep up a false show of beauty after the true bloom is wasted by dissipation. The woman who never goes to bed till morning, who never even dresses herself, who never takes a needle in her hand, who never goes to church, and never entertains one serious idea of duty of any kind, when got up in Pompadour style, has, to say the truth, the good taste and merit of appropriateness. Her dress expresses just what she is,—all false, all artificial, all meretricious and unnatural; no part or portion 402 of her from which it might be inferred what her Creator originally designed her to be.

“But when a nice little American girl, who has been brought up to cultivate her mind, to refine her taste, to care for her health, to be a helpful daughter and a good sister, to visit the poor and teach in Sunday schools; when a good, sweet, modest little puss of this kind combs all her pretty hair backward till it is one mass of frowsy confusion; when she powders, and paints under her eyes; when she adopts, with eager enthusiasm, every outré, unnatural fashion that comes from the most dissipated foreign circles,—she is in bad taste, because she does not represent either her character, her education, or her good points. She looks like a second-rate actress, when she is, in fact, a most thoroughly respectable, estimable, lovable little girl, and on the way, as we poor fellows fondly hope, to bless some one of us with her tenderness and care in some nice home in the future.

“It is not the fashion in America for young girls to have waiting-maids,—in foreign countries it is the fashion. All this meretricious toilet—so elaborate, so complicated, and so contrary to nature—must be accomplished, and it is accomplished, by the busy little fingers of each girl for herself; and so it seems to be very evident that a style of hair-dressing which it will require hours to disentangle, which must injure and in time ruin the natural beauty of the hair, ought to be one thing which a well-regulated court of inquiry would reject in our American fashions.

“Again, the genius of American life is for simplicity and absence of ostentation. We have no parade of office: our public men wear no robes, no stars, garters, collars, etc.; and it would, therefore, be in good taste in our women to cultivate simple styles of dress. Now I object to the present fashions, as adopted from France, that they are flashy and theatrical. Having their origin with a community whose senses are blunted, drugged, and deadened with dissipation and ostentation, 403 they reject the simpler forms of beauty, and seek for startling effects, for odd and unexpected results. The contemplation of one of our fashionable churches, at the hour when its fair occupants pour forth, gives one a great deal of surprise. The toilets there displayed might have been in good keeping among showy Parisian women in an opera house, but even their original inventors would have been shocked at the idea of carrying them into a church. The rawness of our American mind as to the subject of propriety in dress is nowhere more shown than in the fact that no apparent distinction is made between church and opera house in the adaptation of attire. Very estimable and we trust very religious young women sometimes enter the house of God in a costume which makes their utterance of the words of the litany and the acts of prostrate devotion in the service seem almost burlesque. When a brisk little creature comes into a pew with hair frizzed till it stands on end in a most startling manner, rattling strings of beads and bits of tinsel, mounting over all some pert little hat with a red or green feather standing saucily upright in front, she may look exceedingly pretty and piquant; and, if she came there for a game of croquet or a tableau party, would be all in very good taste; but as she comes to confess that she is a miserable sinner, that she has done the things she ought not to have done, and left undone the things she ought to have done,—as she takes upon her lips most solemn and tremendous words, whose meaning runs far beyond life into a sublime eternity,—there is a discrepancy which would be ludicrous if it were not melancholy.

“One is apt to think, at first view, that St. Jerome was right in saying,

“‘She who comes in glittering vest To mourn her frailty, still is frail.’

But St. Jerome was in the wrong, after all; for a flashy, unsuitable attire in church is not always a mark of an undevout 404 or entirely worldly mind; it is simply a mark of a raw, uncultivated taste. In Italy, the ecclesiastical law prescribing a uniform black dress for the churches gives a sort of education to European ideas of propriety in toilet, which prevents churches from being made theatres for the same kind of display which is held to be in good taste at places of public amusement. It is but justice to the inventors of Parisian fashions to say that, had they ever had the smallest idea of going to church and Sunday school, as our good girls do, they would immediately have devised toilets appropriate to such exigencies. If it were any part of their plan of life to appear statedly in public to confess themselves ‘miserable sinners,’ we should doubtless have sent over here the design of some graceful penitential habit, which would give our places of worship a much more appropriate air than they now have. As it is, it would form a subject for such a court of inquiry and adaptation as we have supposed, to draw a line between the costume of the theatre and the church.

“In the same manner, there is a want of appropriateness in the costume of our American women, who display in the street promenade a style of dress and adornment originally intended for showy carriage drives in such great exhibition grounds as the Bois de Boulogne. The makers of Parisian fashions are not generally walkers. They do not, with all their extravagance, have the bad taste to trail yards of silk and velvet over the mud and dirt of a pavement, or promenade the street in a costume so pronounced and striking as to draw the involuntary glance of every eye; and the showy toilets displayed on the pavé by American young women have more than once exposed them to misconstruction in the eyes of foreign observers.