It may be noted, by the way, that this requirement, that women must appear to be idle in order to be respectable, is an unfortunate circumstance for women who are compelled to provide their own livelihood. They have to supply not only the means of living, but also the means of advertising the fiction that they live without any gainful occupation; and they have to do all this while encumbered with garments specially designed to hamper their movements and decrease their industrial efficiency.
The cardinal principles of the theory of woman's dress, then, are these three:
1. Expensiveness: Considered with respect to its effectiveness as clothing, apparel must be uneconomical. It must afford evidence of the ability of the wearer's economic group to pay for things that are in themselves of no use to any one concerned—to pay without getting an equivalent in comfort or in gain. From this principle there is no exception.
2. Novelty: Woman's apparel must afford prima facie evidence of having been worn but for a relatively short time, as well as, with respect to many articles, evidence of inability to withstand any appreciable amount of wear. Exceptions from this rule are such things as are of sufficient permanence to become heirlooms, and of such surpassing expensiveness as normally to be possessed only by persons of superior (pecuniary) rank. The possession of an heirloom is to be commended because it argues the practice of waste through more than one generation.
3. Ineptitude: It must afford prima facie evidence of incapacitating the wearer for any gainful occupation; and it should also make it apparent that she is permanently unfit for any useful effort, even after the restraint of the apparel is removed. From this rule there is no exception.
Besides these three, the principle of adornment, in the aesthetic sense, plays some part in dress. It has a certain degree of economic importance, and applies with a good deal of generality; but it is by no means imperatively present, and when it is present its application is closely circumscribed by the three principles already laid down. Indeed, the office of the principle of adornment in dress is that of handmaid to the principle of novelty, rather than that of an independent or co-ordinate factor. There are, further, minor principles that may or may not be present, some of which are derivatives of the great central requisite of conspicuous waste; others are of alien origin, but all are none the less subject to the controlling presence of the three cardinal principles enumerated above. These three are essential and constitute the substantial norm of woman's dress, and no exigency can permanently set them aside so long as the chance of rivalry between
