can there be any greater error than to imagine that an unnaturally small waist gives an air of grace, or even of slightness; to the whole figure.  Its effect, as a rule, is simply to exaggerate the width of the shoulders and the hips; and those whose figures possess that stateliness which is called stoutness by the vulgar, convert what is a quality into a defect by yielding to the silly edicts of Fashion on the subject of tight-lacing.  The fashionable English waist, also, is not merely far too small, and consequently quite out of proportion to the rest of the figure, but it is worn far too low down.  I use the expression ‘worn’ advisedly, for a waist nowadays seems to be regarded as an article of apparel to be put on when and where one likes.  A long waist always implies shortness of the lower limbs, and, from the artistic point of view, has the effect of diminishing the height; and I am glad to see that many of the most charming women in Paris are returning to the idea of the Directoire style of dress.  This style is not by any means perfect, but at least it has the merit of indicating the proper position of the waist.  I feel quite sure that all English women of culture and position will set their faces against such stupid and dangerous practices as are related by Miss Leffler-Arnim.  Fashion’s motto is:  Il faut souffrir pour etre belle; but the motto of art and of common-sense is:  Il faut etre bete pour souffrir.

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Talking of Fashion, a critic in the Pall Mall Gazette expresses his surprise that I should have allowed an illustration of a hat, covered with ‘the bodies of dead birds,’ to appear in the first number of the Woman’s World; and as I have received many letters on the subject, it is only right that I should state my exact position in the matter.  Fashion is such an essential part of the mundus muliebris of our day, that it seems to me absolutely necessary that its growth, development, and phases should be duly chronicled; and the historical and practical value of such a record depends entirely upon its perfect fidelity to fact.  Besides, it is quite easy for the children of light to adapt almost any fashionable form of dress to the requirements of utility and the demands of good taste.  The Sarah Bernhardt tea-gown, for instance, figured in the present issue, has many good points about it, and the gigantic dress-improver does not appear to me to be really essential to the mode; and though the Postillion costume of the fancy dress ball is absolutely detestable in its silliness and vulgarity, the so-called Late Georgian costume in the same plate is rather pleasing.  I must, however, protest against the idea that to chronicle the development of Fashion implies any approval of the particular forms that Fashion may adopt.

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