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Indeed, the fashion cycle aptly illustrates the exact degree of difference between
England and the rest of Europe. Since it can only flourish in a society with
sufficient openness and emulation between its upper ranks, it was peculiar to
European civilization. Beginning in the fifteenth century at the break-up of strict
feudalism, with cycles of perhaps half a century, it gradually speeded up until in
the eighteenth century it went round about once every decade. Within this
European context the peculiarity of English society was that the fashion cycle by
the eighteenth century reached so much further down the scale. Foreigners like
P.J.Grosley and Per Kalm noticed that the very servants and labourers wore the
paniers and sacks, the knee-breeches and occasionally even the peruques, of their
betters,
2
and their observations are amply confirmed by the paintings and prints
of Hogarth, Stubbs, Rowlandson, Cruikshank and Gillray. Alone amongst
European nations, including the Celtic fringe, England was without a ‘national
costume’, that euphemism for peasant dress. With the significant exception of
the smock-frock, the working overall worn by the agricultural labourers in the
more backward parts of southern England, where the gap between the ‘labouring
poor’ and their ‘betters’ survived down to the late Victorian age, the common
people, at work and especially at leisure, wore a conscious imitation of the dress
of their immediate superiors.
Cotton was the leading industry of the Industrial Revolution because it
admirably suited the demands of the emulative fashion cycle. So versatile and
yet, potentially, so cheap a fabric, variable in colour, pattern and texture, yet
washable and hard-wearing, could make endless reappearances in the salons of
high fashion, and just as repeatedly spread down the social scale. Wool was less
versatile, yet mass consumer demand played a significant part in the rise of the
West Riding and the decline of the older areas: the decline of the West Country
cloth industry has been attributed less to the competition of machine-production
—which a number of West Country manufacturers adopted—than to the shift in
taste from their solid, expensive cloths to the cheaper and lighter woollens and
worsteds of the Yorkshire mills.
1
In the pottery trade Josiah Wedgwood
consciously used the ‘lines, channels and connections’ of his noble and royal
clientèle to spread the fashion for his wares to the rest of society: ‘Few Ladies,
you know, dare venture at anything out of the common style till authorized by
their betters—by Ladies of superior spirit who set the ton’; and he sought out
Queen Charlotte’s patronage not so much for his artistic productions as for his
Queensware, the plain cream earthenware with which to woo the mass market.
2
1
British Magazine, 1763, IV. 417; H.Fielding, Enquiry into the Causes of the late
Increase of Robbers (1750), p. 6; London Chronicle, 1773, XXXIV. 213a; Vicesimus
Knox, Works (1824), I. 374; Hecht. op. cit. pp. 204–5.
2
P.J.Grosley, A Tour to London (trans. T.Nugent, 1772), I. 75; P.Kalm, An Account of his
Visit to England…in 1748 (trans. J.Lucas, 1892), p. 52; Dorothy Marshall, English People
in the 18th Century (1956), p. 178.
SOCIAL CAUSES OF INDUSTRIALISM 77