# Costume: Fanciful, Historical, and Theatrical/Chapter 13

CHAPTER XIII OF ORIENTAL DRESS
All over China, and particularly in official circles, dress is determined by certain fixed laws, the result being that every detail possesses a meaning for those capable of interpreting it. The most significant feature is the button which adorns the crowns of hats peculiar to Mandarins, while embroideries likewise assist in determining the status of the wearer. Colour is another factor of importance. Yellow is sacred to the Emperor, the members of the Imperial family, and those privileged few to whom the sovereign desires to award the highest honour. Red is exclusively reserved for Mandarins, but blue, violet, and black are common property.
In the matter of feminine attire, fashion is equally subjective to legislature, and has varied little throughout the centuries. With regard to the ladies of the Imperial household, the rules laid down for their guidance, in the matter of personal adornment, are as comprehensive as stringent. Custom not only ordains that the Emperor shall have one hundred and thirty wives, it also decrees what they shall wear. As chief wife and equal in all points to her ​Celestial consort, it is incumbent upon the Empress to be distinguished from her entourage by the magnificence of her raiment. For this she depends upon the materials employed and the embroideries, as the costume common to all Chinese women of position is modelled on similar lines, namely, a a long under-dress, usually of plain silk, arranged in stiff, overlapping pleats at the foot. This is surmounted by an over-dress in a contrasting colour, elaborately embroidered with the insignia of the husband's rank, and terminating just below the knees,while the sleeves reach to the wrist, where they are supplemented by tight inner sleeves, belonging to the under-dress, and almost completely concealing the hand. The collar is not more than an inch deep, and is round in shape, a becoming touch being added by a narrow scarf of soft silk twisted once about the throat, and knotted loosely, with the ends allowed to hang unevenly in front. A rare illumination depicts the Empress seated upon a throne of carved wood draped with green silk. On her head is a cope-like erection edged with dangling pearl fringe, her jewellery consisting of jade ear-rings and bracelets contrived from the same precious stone. Her under-robe is sumptuously embroidered in a dazzling variety of colours, pleated and lined with gold tissue, while the upper garment is of red silk, worked in an all-over design of dragons, emblematic of Imperialism by reason of the distinguishing five claws, the border being of dark blue richly embroidered in sombre tones. In her right hand she holds the sceptre, a twisted stick headed by a fabulous bird.
Next in rank to the Empress are the three wives known by the title of Fou-gin. Etiquette ​decrees that they shall wear dresses adorned with feathers worked in five shades. Inferior again to these are the nine Imperial consorts known as Pins. To them are assigned robes of brilliant yellow, the thirty-seven Chi-fous donning white. The lowest wives of all are the Yu-tsis, eighty in number, and they are doomed to appear in black.
The over-dress common to Chinese ladies is coat-shaped, and opens up the sides for a considerable distance, another distinctive feature being the sleeves, which boast a single seam under either arm and are cut in one with the remainder of the garment, which, in winter, is lined with the costliest fur.
Considerable attention is devoted to the hair. In Pekin girls arrange theirs in tufts on the temples, while the back hangs down in multitudinous plaits. As soon as they become engaged they turn it up and thrust a silver pin, a foot in length, through the thick tresses. This pin, by the way, is as significant of betrothal as is the ring in Europe. On her wedding day the bride's hair is shaven in front, to heighten the forehead, and the remainder braided and coiled about a stiff black silk frame which rests on the nape of the neck. This done, flowers, feathers, glass ornaments, or, for the rich, jewellery set with uncut stones, are added. A popular style on ordinary occasions is to twist the hair into outstanding bunches at either ear and decorate the excrescences with flowers.
A small foot is highly esteemed as a beauty, and causes its possessor to be ardently sought after in marriage. The practice, however, of mutilating ​the feet in order to achieve the desired result is limited to one daughter out of five in each family, while the women of Tartary disdain the notion altogether. The diminutive foot, erroneously held to be typical of all Chinese ladies of rank, is encased in a silk or cotton slipper raised on a thick, inclined sole. Those who are incapable of getting into a shoe compared with which Cinderella's glass slipper would appear gigantic, have recourse to the stratagem of wearing a similar model fitted with a high heel set in the middle of the sole. Perched on such an uncertain support, they walk with the mincing steps and swaying gait which, for them, constitute the acme of grace, but which, in barbarian eyes, suggest nothing more alluring than an imminent danger of toppling over.
Abnormally long finger-nails are likewise held to enhance the natural charms of lovely woman, and the use of cosmetics is freely indulged in. A fan is always carried, and frequently a pipe, conspicuous for a diminutive bowl and long slender stem.
As representing officialdom, the Mandarins, or Kwans, as they are called in their own country, are quite the most important body of men in the Celestial Empire. They are divided into nine classes, each of which is subdivided into two. A glance at the button on the hat is sufficient to determine the rank of the wearer.
The significance attached to this particular decoration is as follows:—
| | | Class. | Degree. |
| Red | A ruby or other precious stone | 1st | 1st |
| Red | Coral | 1st | 2nd |
| Red | A red jewel of inferior quality | 2nd | 1st |
| Red | Coral carved in the form of a flower | 2nd | 2nd ​ |
| Blue | A light-blue precious stone | 3rd | 1st |
| Blue | The same only smaller | 3rd | 2nd |
| Blue | A dark-blue precious stone | 4th | 1st |
| Blue | The same only smaller | 4th | 2nd |
| White | Crystal | 5th | 1st |
| White | The same only smaller | 5th | 2nd |
| White | A white precious stone | 6th | 1st |
| White | The same only smaller | 6th | 2nd |
| Gold | Gold | 7th | 1st |
| Gold | Smaller | 7th | 2nd |
| Gold | Smaller | 8th | 1st |
| Gold | Smaller | 8th | 2nd |
The last class of all is similarly represented by a gold button. The button employed on ceremonial occasions differs from that worn every day, in that it is round, whereas the latter is oblong. Another distinctive feature of a Mandarin's dress is the pectoral—a small piece of material attached to the breast. In the case of civil dignitaries it is embroidered with birds, while in that of military authorities it displays quadrupeds. The official costume consists of a long, loose gown which opens up the centre and is gorgeously embroidered with dragons or winged serpents. The claws further testify to the rank of the wearer, those dragons possessing three or four being the exclusive privilege of members of the first four classes, who are also entitled to wear peacock's feathers at the back of their hats, and chains of coral, the red parasol being another of their prerogatives. Over the under-robe is worn an ample coat of plain silk extending below the knees. This has wide sleeves, which allow a view of tight under-sleeves pertaining to the embroidered robe, and drawn down to cover the hands, and shaped ​at the ends in the form of a horseshoe. About the waist is a deep embroidered band, that serves as
A CHINESE ACTOR.
pocket in case of need, while a square, embroidered collar rests on the shoulders and tapers up to vanishing point at the throat in front. The hair ​hangs in a tightly-plaited pigtail, lengthened by the addition of false tresses, and the characteristic
A CHINESE PEASANT.
hat boasts a brim of satin, velvet, or fur, shaped like a saucer, its red crown surmounted by the all-important button. The shoes are those which a man of position must always wear in public. ​Sahot-shaped, with thick soles, they are covered ill silk, satin, or cotton, and there is no difference between the right and left foot. A coveted military distinction is a fox's tail arranged at the back of the hat. The most signal mark of Imperial favour, however, is permission to wear a yellow coat.
In his everyday attire the Mandarin observes none of these elaborate formulas. He dons a loose robe of silk to the ankles, an umbrella-shaped hat, and heel-less shoes with pointed toes that curve slightly upwards, contrived from rattan plaited in such a manner as to allow freely of ventilation. In his right hand he carries a fan and in his left a checked handkerchief of imposing dimensions.
The ordinary dress of men of the middle classes comprises a short shirt cut low at the throat, drawers, socks of material made with a single seam up the back, a long embroidered coat, and a shorter jacket of some plain fabric, held by a broad waist-belt, embroidered in colours and fastened by a jade ornament.
The headgear differs according to the season. In summer a conical-shaped straw hat is chosen, and in winter small hats obtain either of hard felt with stiff, upturned brims or of felt soft and pliable.
The costume of the lower orders is simplicity itself. A cotton shirt, trousers, and a loose sleeve-less coat exhaust the list. A narrow strip of material is tied round the waist in order to prevent the clothing getting in the worker's way, and the naked feet are thrust into low sandals.
Occasionally the ubiquitous pigtail is turned up and pinned in a coil about the head, but this ​liberty is never permitted in the presence of a superior. As a matter of fact, the etiquette of dress is rigidly observed throughout China. No gentleman would dream of either paying or receiving a visit without shoes on his feet, a fan in his hand, and a wide, pointed hat, rather suggestive of a tent, on his head. How true it is that manners, like morals, are mere matters of geography!
In contrast to the love of display characteristic of their Chinese neighbours, the Japanese are conspicuous for extreme simplicity. This national trait finds expression in their dress. Here I pause to consider whether, as a chronicler of costume, I should allude to the Japanese in the present or past tense? I regretfully incline to the latter view, for there is little doubt that the smoke of factory chimneys, built on European lines and fed with Cardiff coal, is rapidly blurring local colour. Already the quaint little men have adopted the outward and visible sign of inward civilisation in the form of a frock coat and top hat. Their women -folk have followed their example and discarded the picturesque for the prosaic, exchanging the fashions transmitted by their ancestresses for those telegraphed from Paris. Will the Geishas do likewise, and is another decade destined to see them in caps and aprons, and will Imagination fails me, and I revert to the glorious days of the Daimios and Samourais—days for which, I am firmly convinced, every frock-coated Japanese sighs as ardently as I do.
In old Japan social distinctions were drawn for all time, and there was no crossing the line of demarcation. Society was divided into nine grades. ​The princes, or Daimios, the nobles, or Samourai, the priests, and the military composed the first four. These were entitled to carry two swords, while the intellectual class, which numbered doctors in its ranks, was allowed one. The remainder, including lawyers, were debarred the privilege of bearing arms.
From the age of seven the son of a Samourai appeared in public wearing the two swords distinctive of his rank. They were small, of course, as appropriate to his size and strength, but were otherwise perfect in every detail.
Despite rigorously-observed social divisions, all classes wore the same outer garment, the difference being in the materials employed. Until the influx of Europeans made its levelling influence felt, the use of silk by any but the nobility was strictly prohibited. The article of attire common to both sexes of the community was the kimono, a loose, flowing wrap which opened down the centre and crossed over at the breast, where on men it was held in place by a narrow belt, while women wore a wide sash neatly folded and tied in an elaborate bow behind. Although the sleeves were immensely wide and hung in deep points, only a small opening was left for the hand to pass through, the remainder being joined together to serve as pocket. Etiquette exacting that what a guest could not eat he should take home, the superfluous dainties were carefully enveloped in paper and deposited in the roomy sleeves.
Handkerchiefs were of tissue paper, and were carried in the belt; while no Japanese, of either sex or any rank, from the Mikado downwards, would consent to even a momentary separation from. his or her fan.
​Masculine costume consisted of tight trousers to the calf and the loose, round shirts, which were fashioned from white material for the people and from greyish-blue silk for the nobility; and labourers displayed on theirs the insignia of their special craft or of the corporation to which they belonged. Common to all classes were high wooden clogs and sandals of plaited straw. Peculiar to the aristocracy and certain regiments, notably the archers, were short trousers of brilliantly-coloured silk, cut so immensely wide as to suggest the petticoats of a ballet girl. On ceremonious occasions the feet and legs were left bare. Stockings were cut out of cotton, or stuff, neatly seamed up the back, and were made with a division at the great toe for the thong of the sandal. On the whole, subdued shades and dark colours predominated, the Japanese being distinguished by the quiet elegance of their taste.
Typical of the headgear affected by the lower classes in warm weather was a huge straw hat in the form of a dish-cover. Another characteristic example, likewise of straw, resembled a round, deep-edged tray, the brim turned downwards, and the whole was held in place by means of a chin-strap.
Women, as a rule, left the head uncovered, preferring to rely for protection upon flat umbrellas made of paper, cotton, or silk. They drew their hair off the forehead, dressing it in neat puffs or coils and decorating it with large, ornamental pins, flowers, and ribbons, but neither ear-rings nor any other articles of jewellery were worn.
Married women were distinguished by their blackened teeth and the fact that their eyebrows were shaved and their faces unpainted. They wore ​a long robe of red crêpe de chine which folded over at the breast leaving a V-shaped opening at the throat. Their pet vanity was to arrange their under-garnients so that the border of each formed a regular trimming at the neck, a glance sufficing to show how many were worn—the greater the number the greater the success achieved. On the back and sleeves of their trailing silk kimonos were embroidered the arms of their house. When walking, or otherwise inconvenienced by-folds of material clinging about their feet, they tucked the kimonos into the belt, a pretty fashion which revealed the gaily-coloured gown beneath and the high wooden clogs.
The only difference between the dress of women of the upper and lower classes was the employment of cotton instead of silk.
Despite the fact that European influence has done much towards imposing European costume upon the Japanese, the influence is as yet restricted to Tokio and other industrial centres. In rural districts the national dress is still sacred, and the country-man remains a quaintly picturesque figure to delight the visitor from across seas, who recognises in him the prototype of the carved ivory models of the glass cabinet and curio table.
From the land of the chrysanthemum to that of the Pyramids is a far cry, and in point of fact no more dissimilar types could be imagined than those of old Japan and ancient Egypt. Woman's dress characteristic of the latter country was marked by a shamelessness of display and a unique brilliancy of colour, the effect of the scanty garments in vivid tones accentuating rather than concealing the natural lines and curves of the figure.
​The chief article of attire would seem to have been the deep circular collar worn round the AN EGYPTIAN PEASANT WOMAN. throat, and this was typical of both sexes and of all ranks of the community with the exception of the very meanest. It was composed of jewels, metal, enamel work, or beads, according to the position of the wearer. Feminine dress consisted of a tight sleeveless robe, better described perhaps as a clinging skirt, of a texture adapted to define the figure, reaching to the ankles, and extending a few inches above the waist. It was held in place by a pair of straps which were joined in the centre and, separating, passed over the shoulders to meet again behind. The bust and arms were bare, the latter adorned with bracelets at the wrist and again above the elbow. Anklets were worn, and occasionally big circular ear-rings.
The treatment of the hair was extremely elaborate and difficult, calling for the exercise of considerable skill and patience. Cut straight across the forehead, it was arranged with mathematical precision in several rows of fine plaits, the clubbed ends terminating immediately below the nape of the neck. As a coiffure of this kind necessitated an enormous expenditure of time and labour, all ​classes of society had recourse to wigs, the rich employing natural hair for the purpose, and the poor, wool. A typical example of a fashionable perruque took the form of a densely-braided mass which covered the head as efficaciously as a mat, one large plait coming down at either side of the face, and curving round on the shoulder in the shape of an elephant's trunk. The crown of the
AN EGYPTIAN WATER-CARRIER.
head was usually encircled by a slender golden fillet, which, in the case of a Pharaoh, or a royal lady, was twined about with the uræus, emblem of supreme sovereignty. The head of the sacred asp reared threateningly in the centre of the forehead. Cleopatra—not the famous Cleopatra of Mark Antony, but one of her five predecessors—is represented with the bare bosom, naked arms, circular collar, and skin-tight skirt common to her country-women. A noteworthy feature is that her dress, of bright blue and white material, shows horizontal stripes to the knees, where it is joined by a slightly ​fuller flounce with the stripes running vertically. It is supported by scarlet shoulder-straps, and the ribbon encircling the crown of the head is in the same shade, knotted at the back, where it hangs in two short ends. The wig is arranged in multitudinous plaits that rest on AN EGYPTIAN PEASANT. the shoulders at either side and descend midway to the waist behind. Above the forehead rears the royal asp, and over it tower two straight quills, which form a background for the horns of a ram between which glares a flaming sun; these quills, by the way, typify absolute sovereignty.
The head-covering in general use consisted of a piece of material shaped to rest flat on the top of the head and describe a curve in front, with a straight, narrow tab cut up at the side to allow free passage for the shoulder, the back hanging curtainwise to afford ample protection to the nape of the neck. The textures employed for such purposes were cotton, linen, and wool decorated with stripes or embroidery.
The men, as well as the women, glittered with bracelets, anklets, and other jewellery of a massive and showy type. White was preferred to colours for their clothing; and the habitual costume for men was of the scantiest possible description, being nothing more or less than a sleeveless tunic held up by shoulder-straps, a narrow piece of ribbon being tied round the waist, terminating in two ​short ends in front. This skirt or tunic reached to the knee or calf, and sometimes even as far as the ankle; the legs, arms, and chest were bare, and the face clean-shaven.
A great warrior is depicted wearing a tightly-fitting shirt of mail composed of bronze scales sewn on to soft leather, displaying short sleeves and descending below the knees, a white metal gauntlet protecting the left wrist. On the head is a high, narrow helmet which completely conceals the hair, and from it floats three pendent ends of striped material. About the throat is a jewelled and enamelled collar, and from a thick gold chain hangs a large gold ornament engraved with figures.
It is known that the finest and most transparent muslins were first manufactured by the ancient Egyptians, and doubtless these were used for making dresses; indeed in proof of this many representations are extant of female musicians clad in diaphanous muslin through which the body can be clearly seen. The loose robe is drawn under the right arm and fastened on the left shoulder.
Did Egyptian women ever grow old, I wonder, and if so, what did they wear? The artists have left us no record save of the eternal feminine eternally youthful.