1870 to 1875: "Suggesting in some instances a toboggan slide; in others, the unseemly hump on the back of a camel."
When we examine the prevailing styles which marked this period, we are struck with amazement at the power exerted by fashion over the intellect and judgment of society. Imagine the shame and humiliation of a woman of fashion, endowed by nature or afflicted by disease with such an unsightly hump on the back as characterized the fashionable toilet of this period!
Toward the end of the seventies, we find another extreme reached, which if possible was more absurd and injurious than those which marked the early days of this decade. This was the period of the tie-back, or narrow skirts and enormous trains. As in 1860 fashion's slaves vied with one another in their effort to cover the largest possible circular space, now their ambitions lay in the direction of the opposite extreme:[2] the skirts must be as narrow as possible even though it greatly impeded walking, for as will be readily observed all free use of the lower limbs was out of the question during the reign of the "tie-back."
The reaction in favor of a more sensible dress which followed was of brief duration. During this time, however, the long trains were seldom seen, and thoughtful women began to hope that the arbitrary rule of fashion was over. It was not long, however, before the panier period arrived, and what was popularly known as the pull-back was accepted as the correct style in fashion's world. Of this latter conceit little need be said, for it has so recently passed from view that all remember its peculiarity, which to the ordinary observer seemed to be a settled determination on the part of its originators to render walking as difficult and fatiguing as possible, while fully exposing the outline of the wearer's body below the waist at every step. What in '60 or '70 would have been accounted the height of indecency, is in the eighties perfectly proper in the fashionable world. During this time it was not enough to have the skirts very narrow, they must at every step give the outline of the limbs [or as our Minnesota solon would put it, nether limbs], hence we find the pull-backs in which "two shy knees appeared clad in a single trouser."
| 1878. The period of the tie-back, narrow skirts, and enormous trains. | The tie-backs of 1878 and 1879. |
| The pull-back of 1886. | Fashionable walking costume early in the seventies. Woman appreciating the fact "that it is her mission to be beautiful." See page 405. |
Such have been the inconsistencies, incongruities, and absurdities of fashion as illustrated in the past three decades, in view of which one may well ask whether in fashion's eyes women are such paragons of ugliness that these ever-varying styles (introduced, we are seriously informed, to conserve to her beauty,) are absolutely essential, and by what rule of art can we explain the fact that the ponderous hoopskirt was the essential requirement of beauty in the sixties and the enormous bustles demanded in the seventies. The truth is, fashion is supremely indifferent alike to all laws of art and beauty, health and life, decency and propriety—a fact that must be patent to any thoughtful person who examines the prevailing styles of a generation. I submit that the wildest extremes to which well-meaning but injudicious dress reformers have gone in the past have been marked by nothing more inartistic than the costume of the reigning belle in 1860. Each successive decade has been marked by an extreme which, surveyed from the vantage ground of the present, is as ridiculously absurd as it has been wanting in beauty Nowhere have the laws of true art been so severely ignored as in the realm of fashion. Yet this view of the problem palls into insignificance when we come to examine the question from the standpoint of health and life.
