Miscellanies. Wilde Oscar

not depend really on the number of garments worn, but on the material of which they are made. One of the chief faults of modern dress is that it is composed of far too many articles of clothing, most of which are of the wrong substance; but over a substratum of pure wool, such as is supplied by Dr. Jaeger under the modern German system, some modification of Greek costume is perfectly applicable to our climate, our country and our century. This important fact has already been pointed out by Mr. E. W. Godwin in his excellent, though too brief, handbook on Dress, contributed to the Health Exhibition. I call it an important fact because it makes almost any form of lovely costume perfectly practicable in our cold climate. Mr. Godwin, it is true, points out that the English ladies of the thirteenth century abandoned after some time the flowing garments of the early Renaissance in favour of a tighter mode, such as Northern Europe seems to demand. This I quite admit, and its significance; but what I contend, and what I am sure Mr. Godwin would agree with me in, is that the principles, the laws of Greek dress may be perfectly realised, even in a moderately tight gown with sleeves: I mean the principle of suspending all apparel from the shoulders, and of relying for beauty of effect not on the stiff ready-made ornaments of the modern milliner – the bows where there should be no bows, and the flounces where there should be no flounces – but on the exquisite play of light and line that one gets from rich and rippling folds. I am not proposing any antiquarian revival of an ancient costume, but trying merely to point out the right laws of dress, laws which are dictated by art and not by archæology, by science and not by fashion; and just as the best work of art in our days is that which combines classic grace with absolute reality, so from a continuation of the Greek principles of beauty with the German principles of health will come, I feel certain, the costume of the future.

      And now to the question of men’s dress, or rather to Mr. Huyshe’s claim of the superiority, in point of costume, of the last quarter of the eighteenth century over the second quarter of the seventeenth. The broad-brimmed hat of 1640 kept the rain of winter and the glare of summer from the face; the same cannot be said of the hat of one hundred years ago, which, with its comparatively narrow brim and high crown, was the precursor of the modern ‘chimney-pot’: a wide turned-down collar is a healthier thing than a strangling stock, and a short cloak much more comfortable than a sleeved overcoat, even though the latter may have had ‘three capes’; a cloak is easier to put on and off, lies lightly on the shoulder in summer, and wrapped round one in winter keeps one perfectly warm. A doublet, again, is simpler than a coat and waistcoat; instead of two garments one has one; by not being open also it protects the chest better.

      Short loose trousers are in every way to be preferred to the tight knee-breeches which often impede the proper circulation of the blood; and finally, the soft leather boots which could be worn above or below the knee, are more supple, and give consequently more freedom, than the stiff Hessian which Mr. Huyshe so praises. I say nothing about the question of grace and picturesqueness, for I suppose that no one, not even Mr. Huyshe, would prefer a maccaroni to a cavalier, a Lawrence to a Vandyke, or the third George to the first Charles; but for ease, warmth and comfort this seventeenth-century dress is infinitely superior to anything that came after it, and I do not think it is excelled by any preceding form of costume. I sincerely trust that we may soon see in England some national revival of it.

      MORE RADICAL IDEAS UPON DRESS REFORM

      (Pall Mall Gazette, November 11, 1884.)

      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 longer 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 naïve 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