like make-believe. The realities which it simulates, or rather symbolizes, could not be tolerated. They would be in some cases too crudely expensive, in others inexpensive and more nearly adapted to minister to personal comfort than to visible expense; and either alternative is obnoxious to the canons of good form.
But apart from the exhibition of pecuniary strength afforded by an aggressive wasteful expenditure, the same purpose may also be served by conspicuous abstention from useful effort. The woman is, by virtue of the specialization of social functions, the exponent of the economic unit's pecuniary strength, and it consequently also devolves on her to exhibit the unit's capacity to endure this passive form of pecuniary damage. She can do this by putting in evidence the fact (often a fiction) that she leads a useless life. Dress is her chief means of doing so. The ideal of dress, on this head, is to demonstrate to all observers, and to compel observation of the fact, that the wearer is manifestly incapable of doing anything that is of any use. The modern civilized woman's dress attempts this demonstration of habitual idleness, and succeeds measurably.
Herein lies the secret of the persistence, in modern dress, of the skirt and of all the cumbrous and otherwise meaningless drapery which the skirt typifies. The skirt persists because it is cumbrous. It hampers the movements of the wearer and disables her, in great measure, for any useful occupation. So it serves as an advertisement (often disingenuous) that the wearer is backed by sufficient means to be able to afford the idleness, or impaired efficiency, which the skirt implies. The like is true of the high heel, and in less degree of several other features of modern dress.
Herein is also to be sought the ground of the persistence (probably not the origin) of the one great mutilation practiced by civilized Occidental womankind—the constricted waist, as well as of the analogous practice of the abortive foot among their Chinese sisters. This modern mutilation of woman is perhaps not to be classed strictly under the category of dress; but it is scarcely possible to draw the line so as to exclude it from the theory, and it is so closely coincident with that category in point of principle that an outline of the theory would be incomplete without reference to it.
A corollary of some significance follows from this general principle. The fact that voluntarily accepted physical incapacity argues the possession of wealth practically establishes the futility of any attempted reform of woman's dress in the direction of convenience, comfort, or health. It is of the essence of dress that it should (appear to) hamper, incommode, and injure the wearer, for in so doing it proclaims the wearer's pecuniary ability to endure idleness and physical incapacity.
