The position of machine products in the civilized scheme of consumption serves to point out the nature of the relation which subsists between the canon of conspicuous waste and the code of proprieties in consumption. Neither in matters of art and taste proper, nor as regards the current sense of the serviceability of goods, does this canon act as a principle of innovation or initiative. It does not go into the future as a creative principle which makes innovations and adds new items of consumption and new elements of cost. The principle in question is, in a certain sense, a negative rather than a positive law. It is a regulative rather than a creative principle. It very rarely initiates or originates any usage or custom directly. Its action is selective only. Conspicuous wastefulness does not directly afford ground for variation and growth, but conformity to its requirements is a condition to the survival of such innovations as may be made on other grounds. In whatever way usages and customs and methods of expenditure arise, they are all subject to the selective action of this norm of reputability; and the degree in which they conform to its requirements is a test of their fitness to survive in the competition with other similar usages and customs. Other thing being equal, the more obviously wasteful usage or method stands the better chance of survival under this law. The law of conspicuous waste does not account for the origin of variations, but only for the persistence of such forms as are fit to survive under its dominance. It acts to conserve the fit, not to originate the acceptable. Its office is to prove all things and to hold fast that which is good for its purpose.
Chapter 7.
Dress as an Expression of the Pecuniary Culture
It will in place, by way of illustration, to show in some detail how the economic principles so far set forth apply to everyday facts in some one direction of the life process. For this purpose no line of consumption affords a more apt illustration than expenditure on dress. It is especially the rule of the conspicuous waste of goods that finds expression in dress, although the other, related principles of pecuniary repute are also exemplified in the same contrivances. Other methods of putting one's pecuniary standing in evidence serve their end effectually, and other methods are in vogue always and everywhere; but expenditure on dress has this advantage over most other methods, that our apparel is always in evidence and affords an indication of our pecuniary standing to all observers at the first glance. It is also true that admitted expenditure for display is more obviously present, and is, perhaps, more universally practiced in the matter of dress than in any other line of consumption. No one finds difficulty in assenting to the commonplace that the greater part of the expenditure incurred by all classes for apparel is incurred for the sake of a respectable appearance rather than for the protection of the person. And probably at no other point is the sense of shabbiness so keenly felt as it is if we fall short of the standard set by social usage in this matter of dress. It is true of dress in even a higher degree than of most other items of consumption, that people will undergo a very considerable degree of privation in the comforts or the necessaries of life in order to afford what is considered a decent amount of wasteful consumption; so that it is by no means an uncommon occurrence, in an inclement climate, for people to go ill clad in order to appear well dressed. And the commercial value of the goods used for clotting in any modern community is made up to a much larger extent of the fashionableness, the reputability of the goods than of the mechanical service which they render in clothing the person of the wearer. The need of dress is eminently a "higher" or spiritual need.
This spiritual need of dress is not wholly, nor even chiefly, a naive propensity for display of expenditure. The law of conspicuous waste guides consumption in apparel, as in other things, chiefly at the second remove, by shaping the canons of taste and decency. In the common run of cases the conscious motive of the wearer or purchaser of conspicuously wasteful apparel is the need of conforming to established usage, and of living up to the accredited standard of taste and reputability. It is not only that one must be guided by the code of proprieties in dress in order to avoid the mortification that comes of unfavorable notice and comment, though that motive in itself counts for a great deal; but besides that, the requirement of expensiveness is so ingrained into our habits of thought in matters of dress that any other than expensive apparel is instinctively odious to us. Without reflection or analysis, we feel that what is inexpensive is unworthy. "A cheap coat makes a cheap man." "Cheap and nasty" is recognized to hold true in dress with even less mitigation than in other lines of consumption. On the ground both of taste and of serviceability, an inexpensive article of apparel is held to be inferior, under the maxim "cheap and nasty." We find things beautiful, as well as serviceable, somewhat in proportion as they are costly. With few and inconsequential exceptions, we all find a costly hand-wrought article of apparel much preferable, in point of beauty and of serviceability, to a less expensive imitation of it, however cleverly the spurious article may imitate the costly original; and what offends our sensibilities in the spurious article is not that it falls short in form or color, or, indeed, in visual effect in any way. The offensive object may be so close an imitation as to defy any but the closest scrutiny; and yet so soon as the counterfeit is detected, its aesthetic value, and its commercial value as well, declines precipitately. Not only that, but it may be asserted with but small risk of contradiction that the aesthetic value of a detected counterfeit in dress declines somewhat in the same proportion as the counterfeit is cheaper than its original. It loses caste aesthetically because it falls to a lower pecuniary grade.
But the function of dress as an evidence of ability to pay does not end with simply showing that the wearer consumes valuable goods in excess of what is required for physical comfort. Simple conspicuous waste of goods is effective and gratifying as far as it goes; it is good prima facie evidence of pecuniary success, and consequently prima facie evidence of social worth. But dress has subtler and more far-reaching possibilities than this crude, first-hand evidence of wasteful consumption only. If, in addition to showing that the wearer can afford to consume freely and uneconomically, it can also be shown in the same stroke that he or she is not under the necessity of earning a livelihood, the evidence of social worth is enhanced in a very considerable degree. Our dress, therefore, in order to serve its purpose effectually, should not only he expensive, but it should also make plain to all observers that the wearer is not engaged in any kind of productive labor. In the evolutionary process by which our system of dress has been elaborated into its present admirably perfect adaptation to its purpose, this subsidiary line of evidence has received due attention. A detailed examination of what passes in popular apprehension for elegant apparel will show that it is contrived at every point to convey the impression that the wearer does not habitually put forth any useful effort. It goes without saying that no apparel can be considered elegant, or even decent, if it shows the effect of manual labor on the part of the wearer, in the way of soil or wear. The pleasing effect of neat and spotless garments is chiefly, if not altogether, due to their carrying the suggestion of leisure-exemption from personal contact with industrial processes of any kind. Much of the charm that invests the patent-leather shoe, the stainless linen, the lustrous cylindrical hat, and the walking-stick, which so greatly enhance the native dignity of a gentleman, comes of their pointedly suggesting that the wearer cannot when so attired bear a hand in any employment that is directly and immediately of any human use. Elegant dress serves its purpose of elegance not only in that it is expensive, but also because it is the insignia of leisure. It not only shows that the wearer is able to consume a relatively large value, but it argues at the same time that he consumes without producing.
The dress of women goes even farther than that of men in the way of demonstrating the wearer's abstinence from productive employment. It needs no argument to enforce the generalization that the more elegant styles of feminine bonnets go even farther towards making work impossible than does the man's high hat. The woman's shoe adds the so-called French heel to the evidence of enforced leisure afforded by its polish; because this high heel obviously makes any, even the simplest and most necessary manual work extremely difficult. The like is true even in a higher degree of the skirt and the rest of the drapery which characterizes woman's dress. The substantial reason for our tenacious attachment to the skirt is just this; it is expensive and it hampers
