The Heritage of Dress: Being Notes on the History and Evolution of Clothes

by Wilfred Mark Webb

The rise and fall of fashions is a matter that affects every nation and practically every individual, for savages are quite as much harassed and tortured by them as any civilized people are. Fashions are perpetuated, as Herbert Spencer has pointed out, by imitation, and from two motives which are widely divergent. It may be prompted by reverence for the one imitated, on the one hand, or by a desire to assert equality with him. In the beginning, no doubt fashions arose with an idea to improve upon nature, though notions as to ideals of beauty must have been hazy in many cases.

Fashions have been advanced as evidence in support of the proverb that there is nothing new under the sun, and the way in which some of them come round again goes a very long way to prove it in the case of clothes. Luckily some enormities seem to have died out, but in the light of past history we can never feel quite safe, and we never know, on the other hand, where some slight change which in itself seems novel may not lead us to ridiculous extremes. Of course, many garments and styles are importations from other countries. The pelisse came from Persia at the time of the Crusaders, just as the kimono was brought in recent times from Japan. Fads and peculiarities and even deformities of Royalty, as we saw in the case of the peruke, have introduced fashions. The crinoline, according to all accounts, was first devised to hide the shape of a princess. Perhaps no other contrivance has brought more nuisance in its train or had more ridicule poured upon it; but it is only one instance of many fashions that have been carried to excess. It is true, as we shall have occasion to mention, that in earlier times laws were enacted to restrict the size of ruffs and the length of the toes of shoes, but often with little effect, and when shape and size did not occupy attention, the costliness of the garment caused restrictions to be made, while the clergy seem never to have ceased from inveighing against the follies of fashions.

In the twelfth century the devil was represented by an old illustrator in the costume of a fine lady with the long hanging sleeves and tightly laced bodice of the time. A hundred years later English preachers took exception to laced openings through which ladies showed their costly under-linen, and dignified them with the name of “gates of hell.” In the twentieth century ministers in the United States have wasted their time in scolding the lady members of their congregations for wearing fancy stockings. Sometimes, on the other hand, the clergy themselves have laid themselves open to criticism with regard to the gorgeousness of their apparel.

Fig. 168.—A Merveilleuse (after A. Robida).

Periods of depression have been followed by fashions of the gayest. We may recall the times of Charles II, when England breathed again after the civil wars. After the French Revolution, when the reign of terror was over, the Merveilleuses went back to the dresses of antiquity, such as the Athenian costume and that of the Lacedemonian girls, whose tunics were slit down the sides from the hips. When this was not done the skirts were looped up on the left side above the knee with a cameo brooch. (See Figure [168].) One writer records a wager in which a lady betted that her dress, including trinkets, did not weigh two pounds. She afterwards retired and took off the dress, which was weighed, and the whole costume turned the scales at a little over a pound. One of these dresses went by the name of the “female savage,” and consisted of a gauze chemise over pink fleshings, with golden garters. It is not surprising that such costumes, like others before, brought down upon them the condemnation of the Church, and the following “bull,” dated at Rome on the 16th October, 1800, is reprinted from The Times of January 28th, 1801:—

“The Pope, so long engaged in reducing the Gallican Church within the Catholic pale, has not been negligent of the duty of recalling the female form within the petticoat and the handkerchief. After speaking in appropriate terms of the present scarcity of clothing, and of the sensations it may excite even in the withered bosom of a monk, and quoting the authority of St. Clement of Alexandria, His Holiness strictly enjoins his officers, civil and ecclesiastical, to repress, by fine or corporal punishment, according to the circumstances of the case, these crying enormities. He directs, too, that their punishment should be extended to such damsels as though at first sight they appear properly attired, are nevertheless decked in transparent robes, and with a voluptuous and magnificent attire display themselves in very seductive and tempting attitudes. Moreover, fathers, husbands, heads of families, who weakly or negligently permit their wives, daughters, servants, etc., to trespass against these rules, shall not escape with impunity. Also, all taylors, haberdashers, milliners and men-milliners, hairdressers, and others who contribute to these enormities of dress shall in no wise pass unpunished.” The bull goes on to state that “all priests, confessors, overseers, churchwardens, and others shall in no wise admit such delinquents to the Holy Supper; that they shall not allow women improperly dressed to enter the church, and if they come they shall be driven out, and if they resist, the higher powers shall be required to lend their aid.”

It is said that a Russian nobleman who was used to judge the position of ladies by the amount of furs and clothes that they wore, on seeing an English lady in a costume of the merveilleuse style offered her money in the belief that she was a beggar.

Fashions may have a special significance, as in the case of bell-bottom trousers of the costermonger, for it is said that by the cut of these garments the progress of the wearer’s courtship can be traced. When he first “walks out,” the bottoms of his trousers are of such an ample size that only the toes of his boots can be seen. As matters proceed and the wedding comes into view, the trousers assume more moderate dimensions below the knee, and when at last the man is married he is content with a bell of quite modest proportions, with what a writer in one of our comic papers describes as an almost total absence of “sauciness” in the cut of the garment.