The Business of Being a Woman

by Ida M. Tarbell

The difficulty in these great expenditures is that they set a pace. To many women of wealth they are no doubt revolting. They recognize that there are only two classes of women who can justify them—the actress and the demi-mondaine. Yet insensibly many of these women yield to the pressure of temptation. The influence is subtle, often unconscious, and for this reason spreads the more widely. Women all over the country find that the pressure is to spend more for clothes each year. The standard changes. Occasions multiply. Fantasies entice. Before they know it their clothes are costing them a disproportionate sum—more than they can afford if their budget is to balance.

This does not apply to one class, it creeps steadily down to the very poor. Investigators of small household budgets lay it down as a rule that as the income increases the percentage spent for clothing increases more rapidly than for any other item. It is true in the professional classes, and especially burdensome there; for the income is usually small, but the social demand great.

There are certain industrial and ethical results from this preoccupation with clothes which should not be overlooked, particularly the indifference to quality which it has engendered. The very heart of the question of clothes of the American woman is imitation. That is, we are not engaged in an effort to work out individuality. We are not engaged in an effort to find costumes which by their expression of the taste and the spirit of this people can be fixed upon as appropriate American costumes, something of our own. From top to bottom we are copying. The woman of wealth goes to Paris and Vienna for the real masterpieces in a season's wardrobe. The great dressmakers and milliners go to the same cities for their models. Those who cannot go abroad to seek inspiration and ideas copy those who have gone or the fashion plates they import. The French or Viennese mode, started on upper Fifth Avenue, spreads to 23d St., from 23d St. to 14th St., from 14th St. to Grand and Canal. Each move sees it reproduced in materials a little less elegant and durable, its colors a trifle vulgarized, its ornaments cheapened, its laces poorer. By the time it reaches Grand Street the $400 gown in brocaded velvet from the best looms in Europe has become a cotton velvet from Lawrence or Fall River, decorated with mercerized lace and glass ornaments from Rhode Island! A travesty—and yet a recognizable travesty. The East Side hovers over it as Fifth Avenue has done over the original. The very shop window, where it is displayed, is dressed and painted and lighted in imitation of the uptown shop. The same process goes on inland. This same gown will travel its downward path from New York westward, until the Grand St. creation arrives in some cheap and gay mining or factory town. From start to finish it is imitation, and on this imitation vast industries are built—imitations of silk, of velvet, of lace, of jewels.

These imitations, cheap as they are, are a far greater extravagance, for their buyers, than the original model was for its buyer, for the latter came from that class where money does not count—while the former is of a class where every penny counts. The pity of it is that the young girls, who put all that they earn into elaborate lingerie at seventy-nine cents a set (the original model probably sold at $50 or $100), into open-work hose at twenty-five cents a pair (the original $10 a pair), into willow plumes at $1.19 (the original sold at $50), never have a durable or suitable garment. They are bravely ornamented, but never properly clothed. Moreover, they are brave but for a day. Their purchases have no goodness in them; they tear, grow rusty, fall to pieces with the first few wearings, and the poor little victims are shabby and bedraggled often before they have paid for their belongings, for many of these things are bought on the installment plan, particularly hats and gowns. Under these circumstances, it is little wonder that one hears, often and often among their class, the bitter cry, "Gee, but it's hell to be poor!"—that one finds so often assigned by a girl as the cause of her downfall, the natural reason—"Wanted to dress like other girls"—"Wanted pretty clothes."

This habit of buying poor imitations does not end in the girl's life with her clothes. When she marries, she carries it into her home. Decoration, not furnishing, is the keynote of all she touches. It is she who is the best patron of the elaborate and monstrous cheap furniture, rugs, draperies, crockery, bric-a-brac, which fill the shops of the cheaper quarters of the great cities, and usually all quarters of the newer inland towns.

Has all this no relation to national prosperity—to the cost of living? The effect on the victim's personal budget is clear—the effect it has on the family budget, which it dominates, is clear. In both cases nothing of permanent value is acquired. The good linen undergarments, the "all wool" gown, the broadcloth cape or coat, those standard garments which the thrifty once acquired and cherished, only awaken the mirth of the pretty little spendthrift on $8 a week. Solid pieces of furniture such as often dignify even the huts of European peasants and are passed down from mother to daughter for generations—are objects of contempt by the younger generation here. Even the daughters of good old New England farmers are found to-day glad to exchange mahogany for quartered oak and English pewter for pressed glass and stamped crockery. True, another generation may come in and buy it all back at fabulous prices, but the waste of it!

This production of shoddy cloth, cotton laces, cheap furniture, what is it but waste! Waste of labor and material! Time and money and strength which might have been turned to producing things of permanent values, have been spent in things which have no goodness in them, things which because of their lack of integrity and soundness must be forever duplicated, instead of freeing industry to go ahead, producing other good and permanent things.

What it all amounts to is that the instinct for ornament has gotten the upper hand of a great body of American women. We have failed so far to develop standards of taste, fitness, and quality, strong, sure, and good enough effectually to impose themselves. There is no national taste in dress; there is only admirable skill in adapting fashions made in other countries. There is no national sense of restraint and proportion. It is pretty generally agreed that getting all you can is entirely justifiable. There is no national sense of quality; even the rich to-day in this country wear imitation laces. The effect of all this is a bewildering restlessness in costume—a sheeplike willingness to follow to the extreme the grotesque and the fantastic. The very general adoption of the ugly and meaningless fashions of the last few years—peach-basket hats, hobble skirts, slippers for the street—is a case in point. From every side this is bad—defeating its own purpose—corrupting national taste and wasting national substance.

Moreover, the false standard it sets up socially is intolerable. It sounds fantastic to say that whole bodies of women place their chief reliance for social advancement on dress, but it is true. They are, or are not, as they are gowned! The worst of this fantasy is not only that it forces too much attention from useful women, but that it gives such poise and assurance to the ignorant and useless! If you look like the women of a set, you are as "good" as they, is the democratic standard of many a young woman. If for any reason she is not able to produce this effect, she shrinks from contact, whatever her talent or charm! And she is often not altogether wrong in thinking she will not be welcome if her dress is not that of the circle to which she aspires. Many a woman indifferently gowned has been made to feel her difference from the elegant she found herself among. If she is sure of herself and has a sense of humor, this may be an amusing experience. To many, however, it is an embittering one!

Now these observations are not presented as discoveries! They were true, at least, as far back as the Greeks. In fact, there is nothing in the so-called woman's movement, which in its essence did not exist then. The stream of human aspirations, with its stretches of wisdom and of folly, has flowed steadily through the ages, and on its troubled surface men and women have always struggled together as they are struggling to-day. These little comments simply seem to the writer worth making because for the moment the truths behind them are not getting as much attention as they deserve. Certainly the tyranny dress exercises over the woman in this American democracy is an old enough theme. Indeed, it has always formed a part of her program of emancipation. Out of her revolt against its absurdities has come the most definite development in American costume which we have had, and that is the sensible street costume, which in spite of efforts to distort and displace it, a woman still may wear without differentiating herself from her fellows.