soon see in England some national revival of it.
MORE RADICAL IDEAS UPON DRESS REFORM
I have been much interested at reading the large amount of correspondence that has been called forth by my recent lecture on Dress. It shows me that the subject of dress reform is one that is occupying many wise and charming people, who have at heart the principles of health, freedom, and beauty in costume, and I hope that "H. B. T." and "Materfamilias" will have all the real influence which their letters—excellent letters both of them— certainly deserve.
I turn first to Mr. Huyshe's second letter, and the drawing that accompanies it; but before entering into any examination of the theory contained in each, I think I should state at once that I have absolutely no idea whether this gentleman wears his hair long or short, or his cuffs back or forward, or indeed what he is like at all. I hope he consults his own comfort and wishes in everything which has to do with his dress, and is allowed to enjoy that individualism in apparel which he so eloquently claims for himself, and so foolishly tries to deny to others; but I really could not take Mr. Wentworth Huyshe's personal appearance as any intellectual basis for an investigation of the principles which should guide the costume of a nation. I am not denying the force, or even the popularity, of the "'Eave arf a brick" school of criticism, but I acknowledge it does not interest me. The gamin in the gutter may be a necessity, but the gamin in discussion is a nuisance. So I will proceed at once to the real point at issue, the value of the late eighteenth-century costume over that worn in the second quarter of the seventeenth: the relative merits, that is, of the principles contained in each. Now, as regards the eighteenth-century costume, Mr. Wentworth Huyshe acknowledges that he has had no practical experience of it at all; in fact he makes a pathetic appeal to his friends to corroborate him in his assertion, which I do not question for a moment, that he has never been "guilty of the eccentricity" of wearing himself the dress which he proposes for general adoption by others. There is something so naive and so amusing about this last passage in Mr. Huyshe's letter that I am really in doubt whether I am not doing him a wrong in regarding him as having any serious, or sincere, views on the question of a possible reform in dress; still, as irrespective of any attitude of Mr. Huyshe's in the matter, the subject is in itself an interesting one, I think it is worth continuing, particularly as I have myself worn this late eighteenth-century dress many times, both in public and in private, and so may claim to have a very positive right to speak on its comfort and suitability. The particular form of the dress I wore was very similar to that given in Mr. Godwin's handbook, from a print of Northcote's, and had a certain elegance and grace about it which was very charming; still, I gave it up for these reasons:- After a further consideration of the laws of dress I saw that a doublet is a far simpler and easier garment than a coat and waistcoat, and, if buttoned from the shoulder, far warmer also, and that tails have no place in costume, except on some Darwinian theory of heredity; from absolute experience in the matter I found that the excessive tightness of knee-breeches is not really comfortable if one wears them constantly; and, in fact, I satisfied myself that the dress is not one founded on any real principles. The broad-brimmed hat and loose cloak, which, as my object was not, of course, historical accuracy but modern ease, I had always worn with the costume in question, I have still retained, and find them most comfortable.
Well, although Mr. Huyshe has no real experience of the dress he proposes, he gives us a drawing of it, which he labels, somewhat prematurely, "An ideal dress." An ideal dress of course it is not; "passably picturesque," he says I may possibly think it; well, passably picturesque it may be, but not beautiful, certainly, simply because it is not founded on right principles, or, indeed, on any principles at all. Picturesqueness one may get in a variety of ways; ugly things that are strange, or unfamiliar to us, for instance, may be picturesque, such as a late sixteenth-century costume, or a Georgian house. Ruins, again, may be picturesque, but beautiful they never can be, because their lines are meaningless. Beauty, in fact, is to be got only from the perfection of principles; and in "the ideal dress" of Mr. Huyshe there are no ideas or principles at all, much less the perfection of either. Let us examine it, and see its faults; they are obvious to any one who desires more than a "Fancy-dress ball" basis for costume. To begin with, the hat and boots are all wrong. Whatever one wears on the extremities, such as the feet and head, should, for the sake of comfort, be made of a soft material, and for the sake of freedom should take its shape from the way one chooses to wear it, and not from any stiff, stereotyped design of hat or boot maker. In a hat made on right principles one should be able to turn the brim up or down according as the day is dark or fair, dry or wet; but the hat brim of Mr. Huyshe's drawing is perfectly stiff, and does not give much protection to the face, or the possibility of any at all to the back of the head or the ears, in case of a cold east wind; whereas the bycocket, a hat made in accordance with the right laws, can be turned down behind and at the sides, and so give the same warmth as a hood. The crown, again, of Mr. Huyshe's hat is far too high; a high crown diminishes the stature of a small person, and in the case of any one who is tall is a great inconvenience when one is getting in and out of hansoms and railway carriages, or passing under a street awning: in no case is it of any value whatsoever, and being useless it is of course against the principles of dress.
As regards the boots, they are not quite so ugly or so uncomfortable as the hat; still they are evidently made of stiff leather, as otherwise they would fall down to the ankle, whereas the boot should be made of soft leather always, and if worn high at all must be either laced up the front or carried well over the knee: in the latter case one combines perfect freedom for walking together with perfect protection against rain, neither of which advantages a short stiff boot will ever give one, and when one is resting in the house the long soft boot can be turned down as the boot of 1640 was. Then there is the overcoat: now, what are the right principles of an overcoat? To begin with, it should be capable of being easily put on or off, and worn over any kind of dress; consequently it should never have narrow sleeves, such as are shown in Mr. Huyshe's drawing. If an opening or slit for the arm is required it should be made quite wide, and may be protected by a flap, as in that excellent overall the modern Inverness cape; secondly, it should not be too tight, as otherwise all freedom of walking is impeded. If the young gentleman in the drawing buttons his overcoat he may succeed in being statuesque, though that I doubt very strongly, but he will never succeed in being swift; his super-totus is made for him on no principle whatsoever; a super- totus, or overall, should be capable of being worn long or short, quite loose or moderately tight, just as the wearer wishes; he should be able to have one arm free and one arm covered or both arms free or both arms covered, just as he chooses for his convenience in riding, walking, or driving; an overall again should never be heavy, and should always be warm: lastly, it should be capable of being easily carried if one wants to take it off; in fact, its principles are those of freedom and comfort, and a cloak realizes them all, just as much as an overcoat of the pattern suggested by Mr. Huyshe violates them.
The knee-breeches are of course far too tight; any one who has worn