Dress as a Fine Art Part 1

Dress as a Fine Art.

by Mary Philadelphia Merrifield.

PREFACE.

The fact that we derive our styles of dress from the same source as the English, and that the work of Mrs. Merrifield has been circulated among the forty thousand subscribers of the "London Art Journal,"

might perhaps be deemed sufficient apology for offering it in its present form to the American public. It has received the unqualified approbation of the best publications in this country;--entire chapters having been copied into the periodicals of the day; this added to the above, and also to the high standing of the author, has induced the publishers to offer it to the great reading public of this country.

The chapter on Head-dresses, which commences the book, is of much interest in itself, and affords an explanation of many of the descriptions in the body of the work.

The closing chapter, on Children's Dress, by Mrs. Merrifield, will be deemed of more value by most persons than the cost of the entire work.

A few verbal alterations only have been made in the original;--the good sense of every reader will enable him to understand the local allusions, and where they belong to England alone, to make the application.

CHAPTER I.

DESCRIPTION OF HEAD-DRESSES.

Fig. 1 is a front view of a head-dress of Lady Arderne, (who died about the middle of the fifteenth century.) The caul of the head-dress is richly embroidered, the veil above being supported by wires, in the shape of a heart, with double lappets behind the head, which are sometimes transparent, as if made of gauze.

Such gauze veils, or rather coverings for the head-dress, are frequently seen in the miniatures of MSS. Figs. 2, 3, are here selected from the royal MS. In Fig. 3, the steeple head-dress of the lady is entirely covered by a thin veil of gauze, which hangs from its summit, and projects over her face. Fig. 2 has a sort of hat, widening from its base, and made of cloth of gold, richly set with stones. Such jewelled head-dresses are represented on the heads of n.o.ble ladies, and are frequently ornamented in the most beautiful manner, with stones of various tints.

The slab to the memory of John Rolestone, Esq., sometime Lord of Swarston, and Sicili, his wife, in Swarkstone Church, Derbyshire, who died in 1482, gives the head-dress of the said Sicili as represented in Fig. 6. It is a simple cap, radiating in gores over the head, having a k.n.o.b in its centre and a close falling veil of cloth affixed round the back. It seems to have been constructed as much for comfort as for show: the same remark may be applied to Fig. 4, which certainly cannot be recommended for its beauty, being a stunted cone, with a back veil closely fitting about the neck, and very sparingly ornamented; it was worn by Mary, wife of John Rolestone, who died in 1485. These may both have been plain country ladies, far removed from London, and little troubled with its fashionable freaks. Fig. 5 represents the fashionable head-dress of the last days of the house of York. It has been termed the heart-shaped head-dress, from the appearance it presents when viewed in front, which resembles that of a heart, and sometimes a crescent. It is made of black silk or velvet, ornamented with gold studs, and having a jewel over the forehead. It has a long band or lappet, such as the gentlemen then wore affixed to their hats. Figs. 7 and 8 represent head-dresses worn in the time of Henry VIII. These are a sort of cap, which seem to combine coverchief and hood. Fig. 7 was at this time the extreme of fashion. It is edged with lace, and ornamented with jewelry, and has altogether a look of utter unmeaningness and confusion of form. Fig. 8 has a hood easier of comprehension, but no whit better in point of elegance than her predecessors; it fits the head closely, having pendent jewels round the bottom and crossing the brow. Figs. 9 and 11 are hats of a very simple style, such as were worn during the reign of George II., when an affected simplicity, or milk-maiden look, was coveted by the ladies, both high and low. The hood worn by Fig. 10 was a complete envelope for the head, and was used in riding, or travelling, as well as in walking in the parks. These were called Nithsdales, because Lady Nithsdale covered her husband's face with one of them, after dressing him in her clothes, and thus disguised he escaped from the Tower.

Fig. 12 represents a hat worn during the reign of William III. by a damsel who was crying, "Fair cherries, at sixpence a pound!" It is of straw, with a ribbon tied around it in a simple and tasteful manner; the hat is altogether a light and graceful affair, and its want of obtrusiveness is perhaps its chief recommendation. Figs. 13 and 14 are hats such as were worn by citizens and their wives during the reigns of James and Charles I. Figs. 15, 16, 17, were such head-dresses as were in vogue in 1798. Fig. 15 was of a deep orange color, with bands of dark chocolate brown; a bunch of scarlet tufts came over the forehead, and it was held on the head by a kerchief of white muslin tied beneath the chin. Fig. 16 is a straw bonnet, the crown decorated with red perpendicular stripes, the front over the face plain, and a row of laurel leaves surrounds the head; a lavender-colored tie secures it under the chin. Bonnets somewhat similar to those now worn were fashionable two years previous to this; yet a small, low-crowned hat, like the one in Fig. 17, was as much patronized as any head-dress had ever been.

c.o.c.ked hats, such as is represented in Fig. 18, were worn by the gentlemen in the last part of the year 1700. Fig. 19 represents one of the head-dresses worn during the reign of Henry VI. It is a combination of coverchief and turban. Fig. 20 is a combination of the head-dress of Fig. 7 with the lappeted hood of Fig. 8. In 1786, a very large-brimmed hat became fashionable with the ladies, and continued in vogue for the next two years; an idea of the back view of it is given in Fig. 21, and a front view in Fig. 22. It was decorated with triple feathers, and a broad band of ribbon was tied in a bow behind, and allowed to stream down the back. The elegance of turn which the brim of such a hat afforded was completely overdone by the enormity of its proportion; and the shelter it gave the face can now be considered as the only recommendation of this fashion. The hat worn by Fig. 23 was the style of 1785. Feathers were then much in favor, and a poet of the time writes of the ladies,--

"No longer they hunt after ribbons and lace; _Undertakers_ have got in the milliner's place; With hands sacrilegious they've plundered the dead, And transferred the gay plumes from the hea.r.s.e to the head."

[Ill.u.s.tration: Pl. 2.

Figure 27. Style of 1782.

28, 30. Head-dress of 1790.

29. Head-dress of the French peasantry.

31. Fashion of 1791.

32, 33. Fashion of 1789.

36. Head-dress of the commencement of the present century.

35. English housemaid.

37. Gigot sleeves, with cloak worn over.

38. From a picture in the Louvre.

Fig. 24 represents the head-dress worn in 1782. At no period in the history of the world was any thing more absurd in head-dress than the one here depicted. The body of this erection was formed of tow, over which the hair was turned, and false hair added in great curls; bobs and ties, powdered to profusion, then hung all over with vulgarly large rows of pearls, or gla.s.s beads, fit only to decorate a chandelier; flowers as obtrusive were stuck about this heap of finery, which was surmounted by broad silken bands and great ostrich feathers, until the head-dress of a lady added three feet to her stature, and "the male s.e.x," to use the words of the "Spectator," "became suddenly dwarfed beside her." To effect this, much time and trouble were wasted, and great personal annoyance was suffered. Heads, when properly dressed, "kept for three weeks," as the barbers quaintly phrased it; that they would not really "keep" longer, may be seen by the many receipts they gave for the destruction of insects, which bred in the flour and pomatum so liberally bestowed upon them. Fig. 25 is another fashionable outdoor head-dress. Fig. 26 represents one of the hats invented to cover the head when full dressed. It is as extravagant as the head-dresses. It is a large but light compound of gauze, wire, ribbons, and flowers, sloping over the forehead, and sheltering the head entirely by its immensity. Fig. 27 shows how immensely globular the head of a lady had become; it swells all around like a huge pumpkin, and curls of a corresponding size aid in the caricature which now pa.s.sed as fashionable taste. As if this were not load enough for the fair shoulders of the softer s.e.x, it is swathed with a huge veil or scarf, giving the wearer an exceedingly top-heavy look. In 1790, the ladies appeared in hats similar to those worn by the gentlemen in 1792; these are represented in Figs. 28 and 30. They were gayly decorated with gold strings, and ta.s.sels, crossed and recrossed over the crown. The brims were broad, raised at the sides, and pointed over the face in a manner not inelegant. Fig. 29 has the tall, ugly bonnet, copied from the French peasantry; a long gauze border is attached to the edges, which hangs like a veil around the face, and partially conceals it. A hat of a very piquant character was adopted by the ladies in 1791, of which a specimen is given in Fig. 31. It is decorated with bows, and a large feather nods not ungracefully over the crown from behind. A person with good face and figure must have looked becomingly beneath it. Fig. 32 is an example of the bad taste which still peeped forth. It is one of the most fashionable head-dresses worn in 1789, and is the back view of a lady's head, surmounted by a very small cap or hat, puffed round with ribbon; the hair is arranged in a long, straight bunch down the neck, where it is tied by a ribbon, and flows in curls beneath; long curls repose one on each shoulder, while the hair at the sides of the head is frizzed out on each side in a most fantastic form. The hat of Fig. 33, shaped like a chimney pot, and decorated with small tufts of ribbon, and larger bows, which fitted on a lady's head like the cover on a canister, was viewed with "marvellous favor" by many a fair eye, in the year 1789. It was sometimes bordered with lace, as in Fig. 29, thus hiding the entire head, and considerably enhancing its ugliness.

CHAPTER II.

DRESS, AS A FINE ART.

In a state so highly civilized as that in which we live, the art of dress has become extremely complicated. That it is an art to set off our persons to the greatest advantage must be generally admitted, and we think it is one which, under certain conditions, may be studied by the most scrupulous. An art implies skill and dexterity in setting off or employing the gifts of nature to the greatest advantage, and we are surely not wrong in laying it down as a general principle, that every one may endeavor to set off or improve his or her personal appearance, provided that, in doing so, the party is guilty of no deception. As this proposition may be liable to some misconstruction, we will endeavor to explain our meaning.

In the first place, the principle is acted upon by all who study cleanliness and neatness, which are universally considered as positive duties, that are not only conducive to our own comfort, but that society has a right to expect from us. Again: the rules of society require that to a certain extent we should adopt those forms of dress which are in common use, but our own judgment should be exercised in adapting these forms to our individual proportions, complexions, ages, and stations in society. In accomplishing this object, the most perfect honesty and sincerity of purpose may be observed. No deception is to be practised, no artifice employed, beyond that which is exercised by the painter, who arranges his subjects in the most pleasing forms, and who selects colors which harmonize with each other; and by the manufacturer, who studies pleasing combinations of lines and colors. We exercise taste in the decoration and arrangement of our apartments and in our furniture, and we are equally at liberty to do so with regard to our dress; but we know that taste is not an instinctive perception of the beautiful and agreeable, but is founded upon the observance of certain laws of nature. When we conform to these laws, the result is pleasing and satisfactory; when we offend against them, the contrary effect takes place. Our persons change with our years; the child pa.s.ses into youth, the youth into maturity, maturity changes into old age. Every period of life has its peculiar external characteristics, its pleasures, its pains, and its pursuits.

The art of dress consists in properly adapting our clothing to these changes.

We violate the laws of nature when we seek to repair the ravages of time on our complexions by paint, when we subst.i.tute false hair for that which age has thinned or blanched, or conceal the change by dyeing our own gray hair; when we pad our dress to conceal that one shoulder is larger than the other. To do either is not only bad taste, but it is a positive breach of sincerity. It is bad taste, because the means we have resorted to are contrary to the laws of nature. The application of paint to the skin produces an effect so different from the bloom of youth, that it can only deceive an unpractised eye. It is the same with the hair: there is such a want of harmony between false hair and the face which it surrounds, especially when that face bears the marks of age, and the color of the hair denotes youth, that the effect is unpleasing in the extreme. Deception of this kind, therefore, does not answer the end which it had in view; it deceives n.o.body but the unfortunate perpetrator of the would-be deceit. It is about as senseless a proceeding as that of the goose in the story, who, when pursued by the fox, thrust her head into a hedge, and thought that, because she could no longer see the fox, the fox could not see her. But in a moral point of view it is worse than silly; it is adopted with a view to deceive; it is _acting a lie_ to all intents and purposes, and it ought to be held in the same kind of detestation as falsehood with the tongue. Zimmerman has an aphorism which is applicable to this case--"Those who conceal their age do not conceal their folly."

The weak and vain, who hope to conceal their age by paint and false hair, are, however, morally less culpable than another cla.s.s of dissemblers, inasmuch as the deception practised by the first is so palpable that it really deceives no one. With regard to the other cla.s.s of dissemblers, we feel some difficulty in approaching a subject of so much delicacy. Yet, as we have stated that we are at liberty to improve our natural appearance by well-adapted dress, we think it our duty to speak out, lest we should be considered as in any way countenancing deception. We allude to those physical defects induced by disease, which are frequently united to great beauty of countenance, and which are sometimes so carefully concealed by the dress, that they are only discovered after marriage.

Having thus, we hope, established the innocence of our motives, we shall proceed to mention the legitimate means by which the personal appearance may be improved by the study of the art of dress.

Fashion in dress is usually dictated by caprice or accident, or by the desire of novelty. It is never, we believe, based upon the study of the figure.

It is somewhat singular that while every lady thinks herself at liberty to wear any textile fabric or any color she pleases, she considers herself bound to adopt the form and style of dress which the fashion of the day has rendered popular. The despotism of fashion is limited to _form_, but _color_ is free. We have shown, in another essay, (see closing chapter,) what licentiousness this freedom in the adoption and mixture of colors too frequently induces. We have also shown that the colors worn by ladies should be those which contrast or harmonize best with their individual complexions, and we have endeavored to make the selection of suitable colors less difficult by means of a few general rules founded upon the laws of harmony and contrast of colors. In the present essay, we propose to offer some general observations on form in dress. The subject is, however, both difficult and complicated, and as it is easier to condemn than to improve or perfect, we shall more frequently indicate what fashions should not be adopted, than recommend others to the patronage of our readers.

The immediate objects of dress are twofold--namely, decency and warmth; but so many minor considerations are suffered to influence us in choosing our habiliments, that these primary objects are too frequently kept out of sight. Dress should be not only adapted to the climate, it should also be light in weight, should yield to the movements of the body, and should be easily put on or removed. It should also be adapted to the station in society, and to the age, of the individual. These are the essential conditions; yet in practice how frequently are they overlooked; in fact, how seldom are they observed! Next in importance are general elegance of form, harmony in the arrangement and selection of the colors, and special adaptation in form and color to the person of the individual. To these objects we purpose directing the attention of the reader.

It is impossible, within the limits we have prescribed ourselves, to enter into the subject of dress minutely; we can only deal with it generally, and lay down certain broad principles for our guidance. If these are observed, there is still a wide margin left for fancy and fashion. These may find scope in tr.i.m.m.i.n.gs and embroidery; the application of which, however, must also be regulated by good taste and knowledge. The physical variety in the human race is infinite; so are the gradations and combinations of color; yet we expect a few forms of dress to suit every age and complexion! Instead of the beautiful, the graceful, and the becoming, what are the attractions offered by the dress makers? What are the terms used to invite the notice of customers? Novelty and distinction. The shops are "Magasins de Nouveautes," the goods are "distingues," "recherches," "nouveaux,"

"the last fashion." The new fashions are exhibited on the elegant person of one of the dress maker's a.s.sistants, who is selected for this purpose, and are adopted by the purchaser without reflecting how much of the attraction of the dress is to be ascribed to the fine figure of the wearer, how much to the beauty of the dress, or whether it will look equally well on herself. So the fashion is set, and then it is followed by others, until at last it becomes singular not to adopt some modification of it, although the extreme may be avoided.

The best dressers are generally those who follow the fashions at a great distance.

Fashion is the only tyrant against whom modern civilization has not carried on a crusade, and its power is still as unlimited and despotic as it ever was. From its dictates there is no appeal; health and decency are alike offered up at the shrine of this Moloch. At its command its votaries melt under fur boas in the dog days, and freeze with bare necks and arms, in lace dresses and satin shoes, in January.

Then, such is its caprice, that no sooner does a fashion become general, than, let its merits or beauties be ever so great, it is changed for one which perhaps has nothing but its novelty to recommend it. Like the bed of Procrustes, fashions are compelled to suit every one. The same fashion is adopted by the tall and the short, the stout and the slender, the old and the young, with what effect we have daily opportunities of observing.

Yet, with all its vagaries, fashion is extremely aristocratic in its tendencies. Every change emanates from the highest circles, who reject it when it has descended to the vulgar. No new form of dress was ever successful which did not originate among the aristocracy. From the ladies of the court, the fashions descend through all the ranks of society, until they at last die a natural death among the cast-off clothes of the housemaid. Fig. 35.

Had the Bloomer costume, which has obtained so much notoriety, been introduced by a tall and graceful scion of the aristocracy, either of rank or talent, instead of being at first adopted by the middle ranks, it might have met with better success. We have seen that Jenny Lind could introduce a new fashion of wearing the hair, and a new form of hat or bonnet, and Mme. Sontag a cap which bears her name. But it was against all precedent to admit and follow a fashion, let its merits be ever so great, that emanated from the stronghold of democracy. We are content to adopt the greatest absurdities in dress when they are brought from Paris, or recommended by a French name; but American fashions have no chance of success in aristocratic England. It is beginning at the wrong end.

The eccentricities of fashion are so great that they would appear incredible if we had not ocular evidence of their prevalence in the portraits which still exist. At one period we read of horned head-dresses, which were so large and high, that it is said the doors of the palace at Vincennes were obliged to be altered to admit Isabel of Bavaria (queen of Charles VI. of France) and the ladies of her suite. In the reign of Edward IV., the ladies' caps were three quarters of an ell in height, and were covered by pieces of lawn hanging down to the ground, or stretched over a frame till they resembled the wings of a b.u.t.terfly.[1] At another time the ladies'

heads were covered with gold nets, like those worn at the present day.

Then, again, the hair, stiffened with powder and pomatum, and surmounted by flowers, feathers, and ribbons, was raised on the top of the head like a tower. Such head-dresses were emphatically called "_tetes_." (See chapter on Head-Dress.) Fig. 36. But to go back no farther than the beginning of the present century, where Mr.

Fairholt's interesting work on British Costume terminates, what changes have we to record! The first fashion we remember was that of scanty clothing, when slender figures were so much admired, that many, to whom nature had denied this qualification, left off the under garments necessary for warmth, and fell victims to the colds and consumptions induced by their adoption of this senseless practice. To these succeeded waists so short that the girdles were placed almost under the arms, and as the dresses were worn at that time indecently low in the neck, the body of the dress was almost a myth. Fig. 39.

[1] Mr. Planche has shown, in his "History of British Costume," that these head-dresses are the prototypes of those still worn by the women of Normandy.

About the same time, the sleeves were so short, and the skirts so curtailed in length, that there was reason to fear that the whole of the drapery might also become a myth. A partial reaction then took place, and the skirts were lengthened without increasing the width of the dresses, the consequence of which was felt in the country, if not in the towns. Then woe to those who had to cross a ditch or a stile! One of two things was inevitable; either the unfortunate lady was thrown to the ground,--and in this case it was no easy matter to rise again,--or her dress was split up. The result depended entirely upon the strength of the materials of which the dress was composed. The next variation, the _gigot_ sleeves, namely, were a positive deformity, inasmuch as they gave an unnatural width to the shoulders--a defect which was further increased by the large collars which fell over them, thus violating one of the first principles of beauty in the female form, which demands that this part of the body should be narrow; breadth of shoulder being one of the distinguishing characteristics of the stronger s.e.x. We remember to have seen an engraving from a portrait, by Lawrence, of the late Lady Blessington, in which the breadth of the shoulders appeared to be at least three quarters of a yard. When a person of low stature, wearing sleeves of this description, was covered with one of the long cloaks, which were made wide at the shoulders to admit the sleeves, and to which was appended a deep and very full cape, the effect was ridiculous, and the outline of the whole ma.s.s resembled that of a hayc.o.c.k with a head on the top.

Fig. 37. One absurdity generally leads to another; to balance the wide shoulders, the bonnets and caps were made of enormous dimensions, and were decorated with a profusion of ribbons and flowers. So absurd was the whole combination, that, when we meet with a portrait of this period, we can only look on it in the light of a caricature, and wonder that such should ever have been so universal as to be adopted at last by all who wished to avoid singularity. The transition from the broad shoulders and gigot sleeves to the tight sleeves and graceful black scarf was quite refreshing to a tasteful eye. These were a few of the freaks of fashion during the last half century. Had they been quite harmless, we might have considered them as merely ridiculous; but some of them were positively indecent, and others detrimental to health. We grieve especially for the former charge: it is an anomaly for which, considering the modest habits and education of our countrywomen, we find it difficult to account.

It is singular that the practice of wearing dresses cut low round the bust should be limited to what is called full dress, and to the higher, and, except in this instance, the more refined cla.s.ses. Is it to display a beautiful neck and shoulders? No; for in this case it would be confined to those who had beautiful necks and shoulders to display. Is it to obtain the admiration of the other s.e.x? That cannot be; for we believe that men look upon this exposure with unmitigated distaste, and that they are inclined to doubt the modesty of those young ladies who make so profuse a display of their charms. But if objectionable in the young, whose youth and beauty might possibly be deemed some extenuation, it is disgusting in those whose bloom is past, whether their forms are developed with a ripe luxuriance which makes the female figures of Rubens appear in comparison slender and refined, or whether the yellow skin, stretched over the wiry sinews of the neck, remind one of the old women whom some of the Italian masters were accustomed to introduce into their pieces, to enhance, by contrast, the beauty of the princ.i.p.al figures. Every period of life has a style of dress peculiarly appropriate to it, and we maintain that the uncovered bosom so conspicuous in the dissolute reign of Charles II., and from which, indeed, the reign of Charles I. was not, as we learn from the Vandyck portraits, exempt, should be limited, even in its widest extension, to feminine youth, or rather childhood.