It is the fashion for girls to be tall. This is much more than saying
that tall girls are the fashion. It means not only that the tall girl has
come in, but that girls are tall, and are becoming tall, because it is
the fashion, and because there is a demand for that sort of girl. There
is no hint of stoutness, indeed the willowy pattern is preferred, but
neither is leanness suggested; the women of the period have got hold of
the poet's idea, "tall and most divinely fair," and are living up to it.
Perhaps this change in fashion is more noticeable in England and on the
Continent than in America, but that may be because there is less room for
change in America, our girls being always of an aspiring turn. Very
marked the phenomenon is in England; on the street, at any concert or
reception, the number of tall girls is so large as to occasion remark,
especially among the young girls just coming into the conspicuousness of
womanhood. The tendency of the new generation is towards unusual height
and gracious slimness. The situation would be embarrassing to thousands
of men who have been too busy to think about growing upward, were it not
for the fact that the tall girl, who must be looked up to, is almost
invariably benignant, and bears her height with a sweet timidity that
disarms fear. Besides, the tall girl has now come on in such force that
confidence is infused into the growing army, and there is a sense of
support in this survival of the tallest that is very encouraging to the
young.
Many theories have been put forward to account for this phenomenon. It is
known that delicate plants in dark places struggle up towards the light
in a frail slenderness, and it is said that in England, which seems to
have increasing cloudiness, and in the capital more and more months of
deeper darkness and blackness, it is natural that the British girl should
grow towards the light. But this is a fanciful view of the case, for it
cannot be proved that English men have proportionally increased their
stature. The English man has always seemed big to the Continental
peoples, partly because objects generally take on gigantic dimensions
when seen through a fog. Another theory, which has much more to commend
it, is that the increased height of women is due to the aesthetic
movement, which has now spent its force, but has left certain results,
especially in the change of the taste in colors. The woman of the
aesthetic artist was nearly always tall, usually willowy, not to say
undulating and serpentine. These forms of feminine loveliness and
commanding height have been for many years before the eyes of the women
of England in paintings and drawings, and it is unavoidable that this
pattern should not have its effect upon the new and plastic generation.
Never has there been another generation so open to new ideas; and if the
ideal of womanhood held up was that of length and gracious slenderness,
it would be very odd if women should not aspire to it. We know very well
the influence that the heroines of the novelists have had from time to
time upon the women of a given period. The heroine of Scott was, no
doubt, once common in society—the delicate creature who promptly fainted
on the reminiscence of the scent of a rose, but could stand any amount of
dragging by the hair through underground passages, and midnight rides on
lonely moors behind mailed and black-mantled knights, and a run or two of
hair-removing typhoid fever, and come out at the end of the story as
fresh as a daisy. She could not be found now, so changed are the
requirements of fiction. We may assume, too, that the full-blown
aesthetic girl of that recent period—the girl all soul and faded
harmonies—would be hard to find, but the fascination of the height and
slenderness of that girl remains something more than a tradition, and is,
no doubt, to some extent copied by the maiden just coming into her
kingdom.
Those who would belittle this matter may say that the appearance of which
we speak is due largely to the fashion of dress—the long unbroken lines
which add to the height and encourage the appearance of slenderness. But
this argument gives away the case. Why do women wear the present
fascinating gowns, in which the lithe figure is suggested in all its
womanly dignity? In order that they may appear to be tall. That is to
say, because it is the fashion to be tall; women born in the mode are
tall, and those caught in a hereditary shortness endeavor to conform to
the stature of the come and coming woman.
There is another theory, that must be put forward with some hesitation,
for the so-called emancipation of woman is a delicate subject to deal
with, for while all the sex doubtless feel the impulse of the new time,
there are still many who indignantly reject the implication in the
struggle for the rights of women. To say, therefore, that women are
becoming tall as a part of their outfit for taking the place of men in
this world would be to many an affront, so that this theory can only be
suggested. Yet probably physiology would bear us out in saying that the
truly emancipated woman, taking at last the place in affairs which men
have flown in the face of Providence by denying her, would be likely to
expand physically as well as mentally, and that as she is beginning to
look down upon man intellectually, she is likely to have a corresponding
physical standard.
Seriously, however, none of these theories are altogether satisfactory,
and we are inclined to seek, as is best in all cases, the simplest
explanation. Women are tall and becoming tall simply because it is the
fashion, and that statement never needs nor is capable of any
explanation. Awhile ago it was the fashion to be petite and arch; it is
now the fashion to be tall and gracious, and nothing more can be said
about it. Of course the reader, who is usually inclined to find the
facetious side of any grave topic, has already thought of the application
of the self-denying hymn, that man wants but little here below, and wants
that little long; but this may be only a passing sigh of the period. We
are far from expressing any preference for tall women over short women.
There are creative moods of the fancy when each seems the better. We can
only chronicle, but never create.
