The rawness and ugliness of modern European life is the sign of biological inferiority, of an insufficient or false relation to environment, which produces strain, wasted effort, revolt or failure. Just as a mechanical, industrial civilization will week to eliminate all waste movements in work, so as to make the operative the perfect complement of his machine, so a vital civilization will cause every function and every act to partake of vital grace and beauty. To a great extent this is entirely instinctive, as in the grace of the old agricultural operations, ploughing, sowing, and reaping, but it is also the goal of conscious effort in the great Oriental cultures — as in the calligraphy of the Moslem scribe, and the elaboration of Oriental social etiquette. Why is a stockbroker less beautiful than a Homeric warrior or an Egyptian priest? Because he is less incorporated with life; he is not inevitable, but accidental, almost parasitic. When a culture has proved its real needs and organized its vital functions, every office becomes beautiful. So, too, with dress, the full Victorian panoply of top hat and frock coat undoubtedly expressed something essential in the 19th century culture, and hence it has spread with that culture all over the world as no fashion of clothing has ever done before. It is possible that our descendants will recognize in it a kind of grim and Assyrian beauty, fit emblem of the ruthless and great age that created it; but, however that may be, it misses the direct and inevitable beauty that all clothing should have, because, like its parent-culture, it was out of touch with the life of nature and of human nature as well.
Christopher Dawson, Progress and Religion, pp. 61-62