适合 - 美国大都会艺术博物馆展品查阅

品名（中）	适合
品名（英）	Suit
入馆年号	1961年，C.I.61.35a–c
策展部门	服装研究所（Costume Institute）
创作者
创作年份	公元 1765 - 公元 1775
创作地区
分类
尺寸
介绍（中）	绅士的绣花西装在十八世纪是一种非常昂贵的服装，主要是因为生产它所需的技能和劳动力。在法国，刺绣师行会小心翼翼地控制着这个行业。只有刺绣大师才能制作设计并指定要使用的针迹类型。尽管妇女承担了大部分实际工作，但法律禁止她们成为各自领域的大师，这一称号只留给男子。师傅完成设计后，学徒将其转移到已经拉伸在大木框架上的丝绸或天鹅绒板上。当它被平放时，许多刺绣师可以同时在西装上工作。1784年，一位访问里昂的英国女士在她的日记中留下了以下条目："在制造所有非常丰富的家具和非常精美的刺绣的东西时。一套非常华丽的绣花缎面男士衣服，大约十七八路易。我们看到一个天鹅绒的图案，假宝石镶嵌在银子上，就像钻石一样，像刺绣一样，这是他们为波将金王子制作的，花了1000路易，一定很重。服装刺绣在十八世纪最后四分之一达到顶峰。法国大革命彻底扰乱了该行业，随后对刺绣服装的需求放缓带来了最后一击。
介绍（英）	A gentleman’s embroidered suit was a very expensive item of dress in the eighteenth century, principally because of the amount of skill and labor required to produce it. In France the guild of embroiderers carefully controlled the industry. Only a master embroiderer could make up the designs and designate the types of stitches to be used. Although women did most of the actual work, they were prevented by law from becoming masters in their field, a designation reserved for men only. Once a design was completed by the master, apprentices transferred it to the silk or velvet sheet that was already stretched on a large wooden frame. When this was laid flat, a number of embroiderers could work on a suit at the same time. An English lady visiting Lyons in 1784 left the following entry in her journal: "At the manufacture of all the very rich stuffs for furniture and for very fine embroidery. A very richly embroidered satin suit of clothes for men, about seventeen or eighteen Louis. We saw the pattern of one in velvet, with fake stones set in silver, like diamonds disposed upon it like embroidery, which they had made for Prince Potemkin, and had cost 1,000 Louis, it must have been frightfully heavy." Embroidery of garments reached its apogee in the last quarter of the eighteenth century. The industry was completely disrupted by the French Revolution, and the subsequent slackening of demand for embroidered garments delivered the final blow.