CONTENTS

I
THE THRALL OF DRESSPAGE
The principles of evolution applied to clothes[1]
II
THE ORIGIN OF DRESS[6]
III
DEVELOPMENT OF THE MODERN COAT
The ancestral shawl—Problematical buttons[15]
IV
BUTTONS AS CHRONICLES
Episodes in the later history of the coat and cuffs[25]
V
COLLARS AND BANDS
Nicks in coat lapels—The why and wherefore of the white shirt front[41]
VI
VESTIGES IN THE HAT
How hats were evolved—Why plumes are on the left side—The growth of the busby—Helmets and cocked hats[49]
VII
SHOES AND STOCKINGS
Early foot-gear—The origin of the clock—A modern imitation of tattooing—Gaily coloured garters[62]
VIII
PETTICOATS AND TROUSERS
The belted plaid and kilt—Early skirts—The antiquity of trousers—Trouser stripes[72]
IX
COATS OF ARMS
Signet rings—Armorial bearings—Escutcheons—Crests—Badges[83]
X
GLOVES AND MITTENS
Origin of the baby’s glove—Fourchettes—The “points” on the backs of gloves[94]
XI
TAGS, PINS, AND BALDRICS
Laces—The evolution and vagaries of the safety-pin—Primitive methods of carrying burdens as illustrated by muff-chains, baldrics, and yokes[100]
XII
ORNAMENTS
Primitive necklaces—Finger rings—The origin of the hair comb—Buttons—Studs—Flowers—Feathers—Amulets[111]
XIII
HAIR DRESSING
Head shaving—Wigs that are still worn—Roman curls and fringes[126]
XIV
SPECIAL DRESSES
Fashions kept up by ceremonies—Survivals in special costume—Flowing garments[135]
XV
SERVANTS’ DRESS
The prototypes of liveries—Reminiscences of George II and George III—Origin of the page-boy’s buttons—The jockey cap—Aprons[139]
XVI
COCKADES
The cockade a degenerated chaperon—The varieties of the cockade—Cockade wearers[152]
XVII
CHILDREN’S DRESS
Survivals in children’s dress—Special school costumes—The blue-coat boy—Public school boys—Adoption of special dress at girls’ schools[162]
XVIII
WEDDING GARMENTS
The veil—Bridesmaids and bribery—Old shoes—Orange blossom[175]
XIX
MOURNING
Colours associated with mourning—Widows’ weeds—Perennial mourning[181]
XX
COSTUME CONNECTED WITH RELIGION
The surplice and “the cloth”—The civil origin of vestments—Fine vestments—Processional vestments, so called—Nuns’ dress—The choker[184]
XXI
SUNDAY CLOTHES
The significance of Sunday clothes—The wearing of hats in church by ladies[205]
XXII
ACADEMICAL DRESS
Gowns and hanging sleeves—The forerunner of the hood—The origin of the doctor’s hat—The evolution of the mortar-board[208]
XXIII
LEGAL DRESS
Vestiges of the coif—Hoods and gowns—Signs of mourning[215]
XXIV
STATE AND COURT ATTIRE
Coronation dress—Parliamentary robes—Mistakes in Court dress—Vestiges of the wig and of the chaperon—Court cards[221]
XXV
SURVIVALS IN MILITARY UNIFORMS
Armour—Prickers for flint locks—Forage cords—Reminiscences of gallantry—Regimental badges—Courtship colours[233]
XXVI
NAVAL UNIFORM
Supposed survivals—Petticoats and wide breeches[251]
XXVII
THE COSTUME OF PUPPETS
Punch and Judy—Fashion dolls—Dolls in swaddling clothes—The Egyptian “shabbies”[253]
XXVIII
THE CLOWN AND PAINTING THE BODY
The clown’s dress—Savage painting and survivals of it—Tattooing—Patches and false complexions—Masks[269]
XXIX
STAGE COSTUMES
The harlequin, pantaloon, columbine, and acrobat[282]
XXX
NIGHTDRESS
Bands on nightgowns—Nightcaps—Night attire worn in the streets[287]
XXXI
THE DRESS OF ANIMALS
Natural representatives of clothes—Horse trappings—Amulets on harness—Dogs’ disguises—Fashions in the form of animals[291]
XXXII
COLOUR
Importance of colour—Instinctive love of bright hues—Desirability of coloured clothes and gay scenes—Colour and complexion[305]
XXXIII
PATTERNS
Ancient designs—Checks and tartans—Parti-coloured clothes—Evolution of ornamentation[311]
XXXIV
IMPRESSIONS TO BE GAINED FROM DRESS
Clues from clothes—Individuality not disguised by them—Modern dress of other countries—Significance of clothes[315]
XXXV
THE EFFECT OF CLOTHES UPON THE INDIVIDUAL
The origin of stays—Tight lacing no new thing—Its effects—Mr. Heather Bigg on the need for support—The ideal foot—Skull deformities—Padding[322]
XXXVI
FURTHER EFFECTS OF CLOTHES ON THE INDIVIDUAL
Mental effects of different clothes—Preferences of girls for certain articles of dress—Movements that depend upon the presence or absence of clothes[339]
XXXVII
THE RISE AND FALL OF FASHIONS
Reason why fashions are followed—Gay clothes seen when periods of depression are over—Condemnation of fashions by the clergy—Quakers—Sumptuary laws—The killing of fashions[343]
XXXVIII
DRESS REFORM
Clothes to be avoided—Need for warmer garments—“Rational” dress for women[354]
Conclusion[362]
Bibliography[363]
Index[369]

[LIST OF PLATES]

PLATEFACING PAGE
I.Very early man in Java. Illustrating the remarks in Chapter II, pages [6] and [7] [Frontispiece]
II.A woman and a witch-doctor of Central Africa, showing the part that ornaments may play even when clothing is of the scantiest. (From a photograph by Captain Ford)[9]
III.The silk vest worn by Charles I on the scaffold. Illustrating the sleeved tunic opening for a short distance down the front. (From a photograph by Mr. Henry Stevens)[18]
IV.Reproduction of a brass to John Brandon and his two wives in the Church of St. Mary, King’s Lynn. Date, 1364. On the male figure, continuous rows of buttons run from the wrist to the elbow of the under-vest. The women wear the wimple and gorget or throat cloth[38]
V.A Siamese Princess wearing trousers[81]
VI.Two Padaung women, showing the numerous metal collars which they wear round their necks[114]
VII.Methods of hairdressing, illustrated by Romano-Egyptian portrait models in the Myers Collection, Eton College Museum. (From photographs by Wilfred Mark Webb)[129]
VIII.A barge girl, showing the costume worn on the canals. (From a photograph by Wakefield Brentford)[150]
IX.Fig. A. The cap worn by the scholars of Christ’s Hospital until the middle of the nineteenth century.
Fig. B. A scholar of Christ’s Hospital. (By the courtesy of the Rev. A. W. Upcott, M.A., Head Master of Christ’s Hospital)[167]
X.Fig. A. The head of a clown, showing the painted face, the ruff, and the Elizabethan method of doing the hair.
Fig. B. The face of a Japanese actor (after Moseley, by the courtesy of Mr. John Murray).
Fig. C. The painted face of a paper figure which is burned at Chinese funerals (after Moseley, by the courtesy of Mr. John Murray).
Fig. D. The tattooed head of a Moorish chief. (By the courtesy of General Robley)[270]
XI.Wooden stay busks. These incidentally show survivals of primitive ornament. From The Reliquary, by kind permission of Messrs. Bemrose & Sons, Ltd.[326]

[LIST OF FIGURES]