茶袍 - 美国大都会艺术博物馆展品查阅

品名（中）	茶袍
品名（英）	Tea gown
入馆年号	2009年，2009.300.3856a–c
策展部门	服装研究所（Costume Institute）
创作者
创作年份	公元 1875 - 公元 1880
创作地区
分类
尺寸
介绍（中）	这件茶袍是打算在家里迎接接待人员时穿的。与大多数其他19世纪的服装一样，它不要求穿着者在里面穿紧身胸衣。这种舒适程度只有在自己家里才允许。这件茶袍的一个有趣的构造方面是背部，它类似于一件redingote，为一件高度女性化的衣服增添了男性的气息热闹的轮廓虽然主要与19世纪后半叶有关，但起源于早期的时尚，如17世纪末18世纪初的曼图和18世纪末19世纪初的帝国连衣裙。19世纪60年代末，这种全面的喧闹轮廓首次出现在维多利亚时代，最初是裙子的丰满感转移到裙子的后面。这种丰满感是在散步时系上的，形成了一种时尚的蓬松感。这款引领潮流的泡芙经过扩展，然后由各种不同的东西支撑而成，如马毛、金属箍和羽绒。这一时期的风格通常取自历史灵感，并采用各种类型的装饰和蕾丝。配饰很娇小，可以把重点放在精致的大礼服上。1874年左右，风格发生了变化，裙子开始紧贴前面的大腿，而后面的喧闹则减少为从腰部到火车的自然流动。这一时期的特点是深色、不对称的窗帘、超大的配饰和全长外套形成的细长形状。在19世纪80年代初，潮流再次发生了变化，包括热闹，这一次它将达到最大的潜力，一些裙子的背面看起来像一个完整的架子。首选的致密纺织品覆盖着镶边、珠饰、蓬松感和蝴蝶结，以在视觉上进一步提升它们的档次。女性的轮廓一直延续到1889年，直到裙子开始减少，为S曲线轮廓让路。
介绍（英）	The teagown was intended to be worn at home while greeting receiving people. As with most other 19th century garments it did not require the wearer to don a corset underneath. This level of comfort was only permissible in one's own home. An interesting construction aspect of this teagown is the back, which resembles a redingote and adds a masculine touch to a highly feminine garment. The bustle silhouette, although primarily associated with the second half of the 19th century, originated in earlier fashions as a simple bump at the back of the dress, such as with late 17th-early 18th century mantuas and late 18th- early 19th century Empire dresses. The full-blown bustle silhouette had its first Victorian appearance in the late 1860s, which started as fullness in skirts moving to the back of the dress. This fullness was drawn up in ties for walking that created a fashionable puff. This trendsetting puff expanded and was then built up with supports from a variety of different things such as horsehair, metal hoops and down. Styles of this period were often taken from historical inspiration and covered in various types of trim and lace. Accessories were petite and allowed for the focus on the large elaborate gowns. Around 1874, the style altered and the skirts began to hug the thighs in the front while the bustle at the back was reduced to a natural flow from the waist to the train. This period was marked by darker colors, asymmetrical drapery, oversize accessories and elongated forms created by full-length coats. Near the beginning of the 1880s the trends altered once again to include the bustle, this time it would reach its maximum potential with some skirts having the appearance of a full shelf at the back. The dense textiles preferred were covered in trimming, beadwork, puffs and bows to visually elevate them further. The feminine silhouette continued like this through 1889 before the skirts began to reduce and make way for the S-curve silhouette.