I would say that the mania for fashion is merely ridiculous, if I did not also see how much harm it does to its flunkies. Every follower believes himself to be the trendsetter, and we end up with a remarkable contradiction, where conformity is taken to be originality.
If one blindly follows the herd, for a lack of confidence in simply being oneself, the only way to stand out from the crowd is to take the latest trend to ever greater extremes. Once the ungainly apparatus collapses under its own weight, we turn to the next craze, and the entire process repeats itself, driven by an intensity of passion at the expense of a modesty in reason.
I have now been around long enough to see many extravagant styles come and go, and even to see those same styles return once more, as if they were entirely new. What we mocked a decade ago is again in vogue, with little hope of convincing the hapless consumers that they have unwittingly turned themselves into slaves.
It is most noticeable in clothing or in music, but it seeps into every aspect of our lives, because it is really about the quality of our thinking. Before we know it, we are bound to obedience in our religion, our politics, and our morals. Needless to say, this is not the life suitable for a creature gifted with the power of free judgment.
So many of Hogarth's works are critical of restrictive standards, exposing how a surrender to the mob is a surrender of one's conscience. This particular painting is a work of lighthearted satire, yet one must wonder how the little vanities in the parlor are indicative of much greater vanities in the wider world.
An older, well-to-do couple are decked out in the latest attire of the 1740's, quite oblivious to how superficial and decadent they have become. The woman's exaggerated hoop dress stands out the most, though I also can't help but notice the man's overblown hat, his pointy shoes, and the long braid on his wig. They are engrossed in examining a cup and a saucer, while a pet monkey, also dressed for success, is looking over a receipt for their recent purchase at an auction.
To the left, a younger woman pets a young African servant, whose grin could just as easily be one of mockery as of deference. Her elaborate dress and his gaudy turban cannot hide the condescension of the gesture. The entire scene is so artificially cultured that is has fallen right back into being vulgar.
The pictures on the wall continue to lampoon the outsized hooped skirts, with one pasted on a classical nude, and another causing a woman to become trapped in a sedan chair. I think of the bell-bottoms in the 1970's, the parachute pants of the 1980's, and the baseball caps of the 1990's. The more things change, the more they stay the same. . . .
William Hogarth, Taste in High Life (painting, c. 1742)
William Hogarth, Taste in High Life (engraving, 1746)