law of expensiveness, it may be stated broadly that each successive innovation in the fashions is an effort to reach some form of display which shall be more acceptable to our sense of form and colour or of effectiveness, than that which it displaces. The changing styles are the expression of a restless search for something which shall commend itself to our æsthetic sense; but as each innovation is subject to the selective action of the norm of conspicuous waste, the range within which innovation can take place is somewhat restricted. The innovation must not only be more beautiful, or perhaps oftener less offensive, than that which it displaces, but it must also come up to the accepted standard of expensiveness.
It would seem at first sight that the result of such an unremitting struggle to attain the beautiful in dress should be a gradual approach to artistic perfection. We might naturally expect that the fashions should show a well-marked trend in the direction of some one or more types of apparel eminently becoming to the human form; and we might even feel that we have substantial ground for the hope that to-day, after all the ingenuity and effort which has been spent on dress these many years, the fashions should have achieved a relative perfection and a relative stability, closely approximating to a permanently tenable artistic ideal. But such is not the case. It would be very hazardous indeed to assert that the styles of to-day are intrinsically more becoming than those of ten years ago, or than those of twenty, or fifty, or one hundred years ago. On the other hand, the assertion freely goes uncontradicted that styles in
