Popular Science Monthly/Volume 46/December 1894/The Economic Theory of Woman's Dress

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THE ECONOMIC THEORY OF WOMAN'S DRESS.
By Dr. THORSTEIN VEBLEN,

UNIVERSITY OF CHICAGO.

IN human apparel the element of dress is readily distinguishable from that of clothing. The two functions—of dress and of clothing the person—are to a great extent subserved by the same material goods, although the extent to which the same material serves both purposes will appear very much slighter on second thought than it does at first glance. A differentiation of materials has long been going on, by virtue of which many things that are worn for the one purpose no longer serve, and are no longer expected to serve, the other. The differentiation is by no means complete. Much of human apparel is worn both for physical comfort and for dress; still more of it is worn ostensibly for both purposes. But the differentiation is already very considerable and is visibly progressing.

But, however united in the same object, however the two purposes may be served by the same material goods, the purpose of physical comfort and that of a reputable appearance are not to be confounded by the meanest understanding. The elements of clothing and of dress are distinct; not only that, but they even verge on incompatibility; the purpose of either is frequently best subserved by special means which are adapted to perform only a single line of duty. It is often true, here as elsewhere, that the most efficient tool is the most highly specialized tool.

Of these two elements of apparel dress came first in order of development, and it continues to hold the primacy to this day. The element of clothing, the quality of affording comfort, was from the beginning, and to a great extent it continues to be, in some sort an afterthought.

The origin of dress is sought in the principle of adornment. This is a well-accepted fact of social evolution. But that principle furnished the point of departure for the evolution of dress rather than the norm of its development. It is true of dress, as of so much else of the apparatus of life, that its initial purpose has not remained its sole or dominant purpose throughout the course of its later growth. It may be stated broadly that adornment, in the naive aesthetic sense, is a factor of relatively slight importance in modern dress.

The line of progress during the initial stage of the evolution of apparel was from the simple concept of adornment of the person by supplementary accessions from without, to the complex concept of an adornment that should render the person pleasing, or of an enviable presence, and at the same time serve to indicate the session of other virtues than that of a well-favored person only. In this latter direction lies what was to evolve into dress. By the time dress emerged from the primitive efforts of the savage to beautify himself with gaudy additions to his person, it was already an economic factor of some importance. The change from a purely æsthetic character (ornament) to a mixture of the aesthetic and economic took place before the progress had been achieved from pigments and trinkets to what is commonly understood by apparel. Ornament is not properly an economic category, although the trinkets which serve the purpose of ornament may also do duty as an economic factor, and in so far be assimilated to dress. What constitutes dress an economic fact, properly falling within the scope of economic theory, is its function as an index of the wealth of its wearer—or, to be more precise, of its owner, for the wearer and owner are not necessarily the same person. It will hold with respect to more than one half the values currently recognized as "dress" especially that portion with which this paper is immediately concerned—woman's dress—that the wearer and the owner are different persons. But while they need not be united in the same person, they must be organic members of the same economic unit; and the dress is the index of the wealth of the economic unit which the wearer represents.

Under the patriarchal organization of society, where the social unit was the man (with his dependents), the dress of the women was an exponent of the wealth of the man whose chattels they were. In modern society, where the unit is the household, the woman's dress sets forth the wealth of the household to which she belongs. Still, even to-day, in spite of the nominal and somewhat celebrated demise of the patriarchal idea, there is that about the dress of women which suggests that the wearer is something in the nature of a chattel; indeed, the theory of woman's dress quite plainly involves the implication that the woman is a chattel. In this respect the dress of women differs from that of men. With this exception, which is not of first-rate importance, the essential principles of woman's dress are not different from those which govern the dress of men; but even apart from this added characteristic the element of dress is to be seen in a more unhampered development in the apparel of women. A discussion of the theory of dress in general will gain in brevity and conciseness by keeping in view the concrete facts of the highest manifestation of the principles with which it has to deal, and this highest manifestation of dress is unquestionably seen in the apparel of the women of the most advanced modern communities.

The basis of the award of social rank and popular respect is the success, or more precisely the efficiency, of the social unit, as evidenced by its visible success. When efficiency eventuates in possessions, in pecuniary strength, as it eminently does in the social system of our time, the basis of the award of social consideration becomes the visible pecuniary strength of the social unit. The immediate and obvious index of pecuniary strength is the visible ability to spend, to consume unproductively; and men early learned to put in evidence their ability to spend by displaying costly goods that afford no return to their owner, either in comfort or in gain. Almost as early did a differentiation set in, whereby it became the function of woman, in a peculiar degree, to exhibit the pecuniary strength of her social unit by means of a conspicuously unproductive consumption of valuable goods.

Reputability is in the last analysis, and especially in the long run, pretty fairly coincident with the pecuniary strength of the social unit in question. Woman, primarily, originally because she was herself a pecuniary possession, has become in a peculiar way the exponent of the pecuniary strength of her social group; and with the progress of specialization of functions in the social organism this duty tends to devolve more and more entirely upon the woman. The best, most advanced, most highly developed societies of our time have reached the point in their evolution where it has (ideally) become the great, peculiar, and almost the sole function of woman in the social system to put in evidence her economic unit's ability to pay. That is to say, woman's place (according to the ideal scheme of our social system) has come to be that of a means of conspicuously unproductive expenditure.

The admissible evidence of the woman's expensiveness has considerable range in respect of form and method, but in substance it is always the same. It may take the form of manners, breeding, and accomplishments that are, prima facie, impossible to acquire or maintain without such leisure as bespeaks a considerable and relatively long-continued possession of wealth. It may also express itself in a peculiar manner of life, on the same grounds and with much the same purpose. But the method in vogue always and everywhere, alone or in conjunction with other methods, is that of dress. "Dress," therefore, from the economic point of view, comes pretty near being synonymous with "display of wasteful expenditure."

The extra portion of butter, or other unguent, with which the wives of the magnates of the African interior anoint their persons, beyond what comfort requires, is a form of this kind of expenditure lying on the border between primitive personal embellishment and incipient dress. So also the brass-wire bracelets, anklets, etc., at times aggregating some thirty pounds in weight, worn by the same class of persons, as well as, to a less extent, by the male population of the same countries. So also the pelt of the arctic fur seal, which the women of civilized countries prefer to fabrics that are preferable to it in all respects but that of expense. So also the ostrich plumes and the many curious effigies of plants and animals that are dealt in by the milliners. The list is inexhaustible, for there is scarcely an article of apparel of male or female, civilized or uncivilized, that does not partake largely of this element, and very many may be said, in point of economic principle, to consist of virtually nothing else.

It is not that the wearers or the buyers of these wasteful goods desire the waste. They desire to make manifest their ability to pay. What is sought is not the de facto waste, but the appearance of waste. Hence there is a constant effort on the part of the consumers of these goods to obtain them at as good a bargain as may be; and hence also a constant effort on the part of the producers of these goods to lower the cost of their production, and consequently to lower the price. But as fast as the price of the goods declines to such a figure that their consumption is no longer prima facie evidence of a considerable ability to pay, the particular goods in question fall out of favor, and consumption is diverted to something which more adequately manifests the wearer's ability to afford wasteful consumption.

This fact, that the object sought is not the waste but the display of waste, develops into a principle of pseudo-economy in the use of material; so that it has come to be recognized as a canon of good form that apparel should not show lavish expenditure simply. The material used must be chosen so as to give evidence of the wearer's (owner's) capacity for making it go as far in the way of display as may be; otherwise it would suggest incapacity on the part of the owner, and so partially defeat the main purpose of the display. But what is more to the point is that such a mere display of crude waste would also suggest that the means of display had been acquired so recently as not to have permitted that long-continued waste of time and effort required for mastering the most effective methods of display. It would argue recent acquisition of means; and we are still near enough to the tradition of pedigree and aristocracy of birth to make long-continued possession of means second in point of desirability only to the possession of large means. The greatness of the means possessed is manifested by the volume of display; the length of possession is, in some degree, evidenced by the manifestation of a thorough habituation to the methods of display. Evidence of a knowledge and habit of good form in dress (as in manners) is chiefly to be valued because it argues that much time has been spent in the acquisition of this accomplishment; and as the accomplishment is in no wise of direct economic value, it argues pecuniary ability to waste time and labor. Such accomplishment, therefore, when possessed in a high degree, is evidence of a life (or of more than one life) spent to no useful purpose; which, for purposes of respectability, goes as far as a very considerable unproductive consumption of goods. The offensiveness of crude taste and vulgar display in matters of dress is, in the last analysis, due to the fact that they argue the absence of ability to afford a reputable amount of waste of time and effort.

Effective use of the means at hand may, further, be taken to argue efficiency in the person making the display; and the display of efficiency, so long as it does not manifestly result in pecuniary gain or increased personal comfort, is a great social desideratum. Hence it happens that, surprising as it may seem at first glance, a principle of pseudo-economy in the use of materials has come to hold a well-secured though pretty narrowly circumscribed place in the theory of dress, as that theory expresses itself in the facts of life. This principle, acting in concert with certain other requirements of dress, produces some curious and otherwise inexplicable results, which will be spoken of in their place.

The first principle of dress, therefore, is conspicuous expensiveness. As a corollary under this principle, but of such magnificent scope and consequence as to claim rank as a second fundamental principle, there is the evidence of expenditure afforded by a constant supersession of one wasteful garment or trinket by a new one. This principle inculcates the desirability, amounting to a necessity wherever circumstances allow, of wearing nothing that is out of date. In the most advanced communities of our time, and so far as concerns the highest manifestations of dress—e. g., in ball dress and the apparel worn on similar ceremonial occasions, when the canons of dress rule unhampered by extraneous considerations—this principle expresses itself in the maxim that no outer garment may be worn more than once.

This requirement of novelty is the underlying principle of the whole of the difficult and interesting domain of fashion. Fashion does not demand continual flux and change simply because that way of doing is foolish; flux and change and novelty are demanded by the central principle of all dress—conspicuous waste.

This principle of novelty, acting in concert with the motive of pseudo-economy already spoken of, is answerable for that system of shams that figures so largely, openly and aboveboard, in the accepted code of dress. The motive of economy, or effective use of material, furnishes the point of departure, and this being given, the requirement of novelty acts to develop a complex and extensive system of pretenses, ever varying and transient in point of detail, but each imperative during its allotted time—facings, edgings, and the many (pseudo) deceptive contrivances that will occur to any one that is at all familiar with the technique of dress. This pretense of deception is often developed into a pathetic, childlike 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.

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 persons in respect of wealth remains. Given the possibility of a difference in wealth, and the sway of this norm of dress is inevitable. Some spasm of sense, or sentiment, or what not, may from time to time create a temporary and local diversion in woman's apparel; but the great norm of "conspicuous waste" can not be set aside or appreciably qualified so long as this its economic ground remains.

To single out an example of the temporary effect of a given drift of sentiment, there has, within the past few years, come, and very nearly gone, a recrudescence of the element of physical comfort of the wearer, as one of the usual requirements of good form in dress. The meaning of this proposition, of course, is not what appears on its face; that seldom happens in matters of dress. It was the show of personal comfort that was lately imperative, and the show was often attained only at the sacrifice of the substance. This development, by the way, seems to have' been due to a ramification of the sentimental athleticism (flesh-worship) that has been dominant of late; and now that the crest of this wave of sentiment has passed, this alien motive in dress is also receding.

The theory of which an outline has now been given is claimed to apply in full force only to modern woman's dress. It is obvious that if the principles arrived at are to be applied as all-deciding criteria, "woman's dress" will include the apparel of a large class of persons who, in the crude biological sense, are men. This feature does not act to invalidate the theory. A classification for the purpose of economic theory must be made on economic grounds alone, and can not permit considerations whose validity does not extend beyond the narrower domain of the natural sciences to mar its symmetry so far as to exclude this genial volunteer contingent from the ranks of womankind.

There is also a second, very analogous class of persons, whose apparel likewise, though to a less degree, conforms to the canons of woman's dress. This class is made up of the children of civilized society. The children, with some slight reservation of course, are, for the purpose of the theory, to be regarded as ancillary material serving to round out the great function of civilized womankind as the conspicuous consumers of goods. The child in the hands of civilized woman is an accessory organ of conspicuous consumption, much as any tool in the hands of a laborer is an accessory organ of productive efficiency.

 


 
Experiments to determine whether air when dried became electrified, reported upon by Lord Kelvin in the British Association, were interpreted as indicating that the effect was really due, not to bubbling or other motion that might cause friction, but to true electrification of the vapor in the air.