"The Stay is a part of modern dress that I have an invincible aversion to, as giving a stiffness to the whole frame, which is void of all grace, and an enemy to beauty; but, as I would not offend the ladies by absolutely condemning what they are so fond of, I will recall my censure, and only observe that even this female armour is changing mode continually, and favours or distresses the enemy according to the humour of the wearer. Sometimes the Stomacher almost rises
to the chin, and a Modesty-bit serves the purpose of a Ruff: at other times it is so complaisant as not to reach half way, and the Modesty is but a transparent shade to the beauties underneath. This is what one may call opening the windows of Heaven, and giving us a view of Paradise; the other shuts up every avenue, and makes Reserve a Dragon for its security: the first may give passion too great a licence, and the last may be an injury to nature: for which reason I recommend a medium; Coquets are the encouragers of one, and Prudes of the other.
"I have no objection to make to the Tippet. It may be made an elegant and beautiful ornament; in Winter the sable is wonderfully graceful, and a fine help to the complexion: in Summer the colours and the composition are to be adapted with judgment, neither dull without fancy, nor gaudy without beauty. I have seen too many of the last; but, as I believe them to be the first trial of a child's genius in such performances, I only give this hint for their amendment.
"As the Breast-knot allows a good deal of ingenuity in the delicate choice of colours, and disposition of figure, I think it may be indulged; but very sparingly, and rather with a negligence, than the least affectation.—It seems there is a fashion even in the colours of ribands, and I have observed a beautiful purple to be lately the general
mode; but it is not the beauty of the colour that recommends it so much, as the symbol it is said to bear: a set of fashionable people have thought fit to entitle themselves the Gallant Schemers, and this is the ensign of the order; this is hung out to distinguish the society, who publicly declare that gallantry is their business, and pleasure their only idol.—I thought myself obliged to make this known, that nobody, through ignorance, might be led astray.—She that invented it, is above regarding the discovery; such a liberty is but spirit and genius in quality, and only meets with censure from the vulgar.
"I come now to the Head-dress, the very highest point of female elegance; and here I find such a variety of modes, such a medley of decoration, that it is hard to know where to fix: lace and cambrick, gauze and fringe, feathers and ribands, create such a confusion, occasion such frequent changes, that it defies art, judgment, or taste, to reconcile them to any standard, or reduce them to any order.—That ornament of the hair which is styled the Horns, and has been in vogue so long, was certainly first calculated by some good-natured lady to keep her spouse in countenance; and, by sympathy, the fashion has prevailed ever since.—The Tête de Mouton has made no farther progress, than those who first imported it from Paris. They inform you the wearer has seen the world, and has acquired
sense enough to contemn the fashions of her own country, and courage enough to defy them.—To this may be added, the Robe de Chambre; and then the dull untravelled English may begin their ridicule as soon as they please; there is more pleasure in being stared at for the novelty, than there is pain in knowing they condemn it.—But, though the Tête de Mouton has had no more success, we have imitations that will do as well; both sides of a fashionable head are now curled out to the best advantage, and I do not know but, by little and little, we shall be able to conquer our difficulties, and appear with a full fleece, till another foreign belle arrives to furnish us with a new extravagance.
"The High-crowned Hat, after having been confined to cots and villages for so long a time, is become the favourite mode of quality, and is the politest distinction of a fashionable undress. I quarrel with it only because it seems to be a kind of masquerade; it would insinuate an idea of innocence and rusticity, though the Park is not the likeliest place to be the scene of either: in short, if a woman is dressed like a Wood Nymph, I expect the simplicity of manners, and full force of rural nature, which is of a piece with the character; but I am generally most egregiously disappointed. Some lady who was intimate with the intrigue of romances was certainly the reviver of this custom; she had read of lucky adventures
in that disguise, and fancied an amour was its inseparable companion. On which account I give public notice, that a High-crowned Hat shall be esteemed as an emblem of an amorous heart, and a signal for the first assignation that falls in the way.
"The Hat and Peruke, which has been some time made part of a lady's riding equipage, is such an odd kind of affectation, that I hardly know under what species to range it; it is such an enemy to female beauty, it is so foreign to every amiable grace, it adds such a masculine fierceness to the figure, and such a shameless boldness to every feature, that neither decency nor elegance can justify it.—None but Amazons ought to wear it; and, if any of the sex are now courageous enough to bid defiance to mankind, I must insist on their wearing the Breeches too, to make their disguise complete. But I am apt to believe it is made use of on quite different motives; it must certainly take place out of a more than ordinary regard to us, and must be meant as the highest compliment. Besides, it may serve to tickle the mind with pretty imaginations; sometimes supply the absence of a beau, and sometimes please with the resemblance. I never see one of these Heroines without ascribing some such cause for her gallantry; and always surmise with what readiness she would part with the appearance in exchange for the reality.