Dressmaking - Yosai

Japanese: 洋裁 - ようさい

An abbreviation for Western sewing. In other words, it refers to the sewing of Western clothes, which involves cutting and sewing cloth. It is the opposite of Japanese sewing, which involves tailoring Japanese clothing. In English, it is called dressmaking, and in French, it is called couture. It is often used to mean home sewing, which involves tailoring women's and children's clothes and accessories. In contrast, the tailoring of men's clothes is called tailor, and in French, tailleur.

[Yoshiko Tamura]

history

The foundations of modern dressmaking techniques were established in the second half of the 17th century in Europe, near the end of the Baroque period. The methods of cutting and constructing clothes were almost the same as those used today. In 1790, British joiner Thomas Saint invented what could be called the prototype of the sewing machine, which has since been improved upon many times, until in 1851, American Isaac Singer invented the revolutionary stay-stitch sewing machine, which greatly advanced dressmaking techniques and made mass production of clothes possible from the end of the 19th century through to the 20th century.

Western clothing was introduced to Japan in the 16th century, when military commanders and other privileged people in the Sengoku period favored Portuguese and Spanish Nanban clothing, and during the Edo period of national isolation, red-haired clothing worn by the Dutch who lived in Dejima, Nagasaki. In 1858 (Ansei 5), a trading company was established within the Yokohama Trading Company to import military uniforms and ready-made clothing. Two years later, in 1860 (Man'en 1), Nakahama Manjiro (John Manjiro), an interpreter accompanying the exchange mission to ratify the Treaty of Amity and Commerce between the United States and Japan, brought back a Wilson Company-made hand-cranked sewing machine on the Kanrin Maru. This was probably the first sewing machine in Japan. In 1862 (Bunkyu 2), Sawano Tatsugoro and others learned how to use a sewing machine and how to sew women's clothing from a missionary woman, Mrs. Brown. In the same year, the shogunate reformed the clothing regulations to simplify clothing. In 1866 (Keio 2), the kimono-style military uniform Jūfuku (with sleeves, jinbaori and jinko style) was adopted for training. Prior to this, in 1864 (Genji 1), Numa Morikazu dismantled used clothing from British soldiers, made prototype patterns and created the uniforms worn by soldiers in the Choshu Expedition. Uemura Kyūgō, a clothing store owner in Shiba, Tokyo, bought a sewing machine brought back by Nakahama Manjirō and began making military uniforms.

In 1867, German tailors Rosmond Willman & Co. and Radage Oelke & Co. began importing ready-made clothing, and dressmaker Mrs. Peelson began a clothing store and hat manufacturing business. The following year, the shogunate opened the Kaiseisho. An advertisement titled "Training with modern Western sewing machines and tailoring" was placed in the first issue of the Chugai Shimbun, announcing that the Kaiseisho would teach sewing machine techniques and take orders for tailoring, marking a major turning point in the development of sewing machines and the world of tailoring.

In 1868 (Meiji 1), tailors and dressmakers were opened by Westerners. The former were mainly British who had come from Hong Kong or Germans associated with the Radage-Oelke Company, which had a branch in Shanghai, while the latter were mostly run by Western wives living in Japan. Westerners also opened stores in Yokohama, Nagasaki and Kobe, but the number of stores opened by Chinese dressmakers who had come to Japan exceeded that of Westerners. In 1871, a tailoring bureau was established at Keio University, but this later became the Maruzen Western Clothing Department. In 1870, military uniforms were established, and the uniforms of the army and navy were Westernized, as well as those of government officials, police officers, postmen and railway workers. In 1872, a proclamation was issued by the Dajokan, which decreed that formal attire for men would be Westernized except for the ceremonial attire. These long-sleeved, momohiki-style suits were made by tabi makers, koromoya makers, and bag makers who had trained in Western or Chinese shops. In the same year, a German woman named Seizen founded a dressmaking school within the Tsukiji settlement and taught her techniques to Japanese women, but many of them learned how to make women's clothing from the "labor-intensive work" done in Western households. Having acquired the skills to make Western clothes, these people later opened their own businesses and came to be called imported clothing stores or female Chinese clothing stores. These made-to-order clothing stores were called "hitotsumonoya," while ready-made military and official uniforms were called "sukumonoya," and they were concentrated in Tokyo and Osaka.

In 1873, Japan's first book on Western sewing, "Kaifuku Tailoring Beginner's Guide" (by Katsuyama Rikimatsu) was published, which included detailed instructions on how to sew formal wear (swallowtails), casual wear (frock coats), Daruma wear (stiff collars), and suits. In 1878, "Western Sewing Instruction Book" translated by Harada Shinjiro was published, which included explanations on measuring, drafting, drawing methods for Grages scale (proportional scale) and inch scale, and corrections. In 1883, the Rokumeikan was built as part of a policy of Westernization, and in 1885, the Empress's Letter of Intent encouraged the adoption of Western clothing. The following year, court ladies' clothing was westernized, ushering in a temporary period of imitation of Western clothing, but it did not last long due to criticism of the extreme Westernization. However, in 1888, a book titled "A Solo Guide to Sewing Western Clothing for Men and Women," edited and translated by Oya Matsunosuke, was published, and the first fashion magazine was also published around this time.

The Sino-Japanese and Russo-Japanese Wars required the production of large quantities of military uniforms, and Western clothing was worn at subsequent victory celebrations, balls, garden parties, etc., which promoted the advancement of Western-style dressmaking techniques and the spread of sewing machines. In the late Meiji period, the clothing industry developed as an increasing number of Westerners came to Japan and the Japanese began to wear Western clothing, and clothing stores catering to Westerners, Chinese, and Japanese were concentrated in Yokohama. After the Singer Sewing School was established in 1906 (Meiji 39), dressmaking schools were gradually established and Western dressmaking began to be featured in girls' school textbooks.

Influenced by the lifestyle improvement movement and Taisho democracy ideas in the mid-Taisho period, Western clothing was used for schoolgirl uniforms, sportswear, "working women's" clothes, children's clothes, and underwear. The Great Kanto Earthquake of 1923 (Taisho 12) and the Shirokiya fire of 1932 (Showa 7) led to the spread of Western clothing, while Western-style fashion was already appearing, and Western clothing was adopted for school uniforms and bus girl uniforms. Furthermore, the increase in "working women," reflecting the economic downturn caused by the Great Depression at the time, spurred the trend toward Western clothing. After the earthquake, Western clothing stores in Yokohama returned to Japan, and Chinese and Japanese clothing stores dispersed to Tokyo and Kobe, but Tokyo later became the center of the clothing industry. The Bunka Sewing College (renamed Bunka Fashion College in 1936) had already been established in 1922, and the Dressmaker Girls' College in 1926.

The first style book, "Fashion Culture," was published in 1934. A self-study guide to dressmaking was included as an appendix to the women's magazine, facilitating dressmaking at home. Dressmakers who had graduated from dressmaking schools also appeared, Japanese clothing stores opened all over the country, and in 1929 a ready-made clothing manufacturer's association was formed. In 1937, Tanaka Fashion College was founded. At the time, Western clothing accounted for more than two-thirds of Japanese men's clothing and more than one-third of Japanese women's clothing.

Until the end of World War II, a clothing lifestyle that combined Japanese and Western styles developed, but after the war, there was a transition from Japanese clothing to Western clothing. The establishment of new dressmaking schools rapidly increased, and Western dressmaking came to be counted alongside Japanese dressmaking as one of the bride's training. While dressmaking became a female occupation, the profession of designer also became established, leading to the founding of the Japan Designers Club (NDC) in 1948 (Showa 23). Western fashion was rapidly introduced, and Western dressmaking became popular at the same time, and many dressmaking magazines were published.

In 1952, the standard size for women's and children's clothing in Japan was established, and the apprenticeship system for acquiring dressmaking skills was clarified with the enactment of the Vocational Training Law (1958) and the Ministry of Labor's (now Ministry of Health, Labor and Welfare) Dressmaking Skills Certification Examination (for made-to-order women's and children's clothing and ready-made clothing manufacturing, and made-to-order men's clothing and ready-made clothing manufacturing). In addition, because of the need to introduce new technologies to Parisian fashion, which was of great interest, fashion shows and seminars were held, inviting top Parisian designers. In 1956, Japanese designers entered Paris, and in 1962, Parisian haute couture began to present ready-to-wear (pret-a-porter), and as ready-to-wear clothing became more luxurious and fashionable and technically improved, home dressmaking was no longer as popular as it once was. Technical education at dressmaking schools also began to aim to train engineers and designers who could handle mass production in the clothing and ready-to-wear industries, rather than just making tailoring for individuals.

In conjunction with this, the ready-made clothing industry has developed significantly, and people who previously made their own clothes, ordered clothes, or used easy-order services are gradually using ready-made clothes and wearing clothes in their own individual way, and the number of people who sew dresses is decreasing. On the other hand, in today's world where individuality is valued, the merits of home sewing, handmade work, are being rediscovered. Also, home sewing machines have made great technological advances, from foot-operated to electric, and then from electronic to computerized, and with the advent of high-performance sewing machines, it can be said that home dressmaking, where clothes are made to look good rather than to wear, is becoming more common.

Clothing in Japan has become entirely centered around Western clothing, supported by readily available ready-made clothes, but home dressmaking is likely to continue to exist as both a hobby and a practical tool.

[Yoshiko Tamura]

Dressmaking skills

Western clothing is characterized by the fact that it is made three-dimensionally to fit the body, unlike Japanese clothing, which is flat and is adjusted by the way it is worn. There are four types of Western clothing: home dressmaking, ready-made clothing, made-to-order clothing, and easy-to-order clothing. After World War II, when dressmaking became popular and the number of people who dressed was high, home dressmaking and tailoring were common, but from the 1950s, ready-made clothing gradually became more widespread, and by the 1960s, the era of ready-made clothing had come into full effect. The reasons for this were the complete establishment of a Western-style lifestyle, advances in mass production technology by large manufacturers, an increasing variety of sizes, soaring prices for tailoring made to order clothing, an increase in retail boutiques, the development of synthetic fibers, and diversification of leisure activities.

In Japan, dressmaking is mostly done by drawing a pattern on paper, and then using that as a basis to create a pattern for the designed garment. Each major dressmaking school has its own method for drawing the pattern, with the most common being the Bunka, Dreme, Tanaka, and Ito methods. All of these share the same basic process of deciding on the design of the garment, taking the measurements of the wearer's body parts, creating the pattern, cutting, fitting, sewing, and finishing. In home economics classes at school, pattern-making education is given using these patterns. The length, body height, chest circumference, waist circumference, sleeve length, etc. of the pattern for the garment, which is made based on standard measurements, are then adjusted according to each individual's measurements. However, it is true that the focus is shifting away from how to make Western clothing, as in the past, and toward developing an eye for using ready-made garments well. Pattern sewing, which was introduced from the United States after World War II, is also a variation of this flat cutting method, and there are also simpler methods that use box patterns (simplified patterns on which patterns are drawn within a square frame) or graph paper, which make this an even simpler method.

On the other hand, the opposite method is three-dimensional cutting (draping in English, coupe de moulage in French). Instead of creating a prototype, this method involves placing a piece of twill (coarse cloth) or paper on a human body (or a dummy), marking and cutting it, removing it from the body to use as a pattern, and then placing it on the actual cloth to be used and cutting it together. It has the advantage that the cloth can be placed directly on a three-dimensional object, allowing you to see its movement and volume. This method was introduced to men's clothing makers by Westerners in the early Meiji period and was also used by women's clothing tailors, but among Japanese people who still had a strong sense of Japanese clothing, the original flat cutting method was popular as a method of mass transmission. However, after World War II, when Western fashion began to be introduced in large quantities to Japan, interest in three-dimensional cutting increased, its importance was recognized, and it is now included in the educational curriculum for clothing construction.

There are two main styles of tailoring: French couture (one-off production seen in dressmaking shops) and American mass production. French couture has several ateliers and is divided into robes (dresses) and tailles (coats). Here, a couturier (male) or couturiere (female) creates a design, and then a chef applies a toile to a human body or a dummy, marks and cuts it, as in the draping method mentioned above, and a seamstress sews it. A minimum of four fittings are made, and one seamstress is responsible for one garment throughout.

America is a country where ready-to-wear clothing is well developed, and a rational process for mass production has been established. First, the assistant designer has a sample maker make a sample based on a sketch designed by the chief designer. Once the planning, production, and sale of the clothing are decided, some changes are made to the pattern to create an industrial pattern, and samples are made using this. They are broadly divided into Misses, Miss Petite, Juniors, Junior Petites, Young Juniors or Teens, Half Sizes, and Women's, and each is further graded (enlarged or reduced) into 6 to 8 sizes. The amount of fabric needed is estimated, marked according to the pattern, the fabric is cut while still stacked several centimeters thick, each part is sewn together, and accessories are added to finish the garment. All of this is mechanized and done by division of labor. The manufacturing process for ready-to-wear clothing in Japan is almost the same.

Japanese Western dressmaking is heavily influenced by Japanese dressmaking, and tends to place too much emphasis on sewing techniques down to the finest details. This is similar to 19th century American Western dressmaking, where even parts that are not visible from the outside are carefully sewn. On the other hand, in France and Italy, where the idea that clothes are only important if they can be worn in the end is the premise, they cut corners where possible, but they respect the atmosphere that the clothes give off when worn, and they seem to place more importance on beautiful and unique fashion. In other words, there is a difference in whether clothes are viewed as an object or a means of self-expression. In today's American consumer culture, clothes are thrown away, but in Europe people try to keep them for as long as possible, sometimes for several generations to come. This is probably due to differences in backgrounds such as history, society, culture, economy, and humanity.

Japanese people have a talent for quickly adopting foreign cultures, assimilating them into their own culture, and creating something new. In Western dressmaking as well, they have assimilated foreign elements and made them Japanese, and now Japan has advanced into the global market alongside fashion meccas such as Paris, New York, and Milan. This is largely due to the spread of Western dressmaking education and the creativity of designers who have taken into account the traditions of Japanese kimonos. Furthermore, we cannot ignore the foundation for comprehensive development created by the various industries related to Western clothing, such as education, publishing, manufacturing, and commerce, which have become indispensable to Westernized daily life.

[Yoshiko Tamura]

"Illustrated History of 100 Years of Japanese Western Clothing, edited by Endo Takeshi and Ishiyama Akira (1962, Bunka Fashion College Publishing Bureau)" ▽ "Dictionary of the Origin of Things: Food, Clothing and Shelter, edited by Asakura Haruhiko, Ando Kikuji, Higuchi Hideo and Maruyama Makoto (1970, Tokyodo Publishing)" ▽ "Home Sewing Book: World Household Series, edited by Reader's Digest (1978, Japan Reader's Digest Co., Ltd.)" ▽ "Encyclopedia of the History of Japanese Manners and Customs, edited by the Japanese Society for the History of Manners and Customs (1979, Kobundo)" ▽ "50 Years of Tokyo Prêt-à-porter, edited and published by the Tokyo Women's and Children's Clothing Industry Association (1982)"

[Reference] | Sewing | Sewing machine

Matsusai Ginko's "A Picture of a Lady Sewing"
The upper class ladies of the Meiji period who gathered at Rokumeikan all learned Western dressmaking. 1887 (Meiji 20) National Diet Library

Matsusai Ginko's "A Picture of a Lady Sewing"

The relationship between fabric, thread, and needle in dressmaking
©Shogakukan ">

The relationship between fabric, thread, and needle in dressmaking

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

Japanese:

洋服裁縫の略語。つまり布を裁って縫う、洋服の裁縫のこと。和服を仕立てる和裁に対する語。英語ではドレスメーキングdressmaking、フランス語ではクチュールcoutureという。婦人・子供服、小物を仕立てるホームソーイング（家庭洋裁）の意味に用いることが多い。これに対する紳士物の仕立てはテイラーtailor、フランス語ではタイユールtailleurである。

［田村芳子］

歴史

今日的洋裁技術の基礎が確立したのは、バロック時代も終わりに近い17世紀後半のヨーロッパであった。衣服の裁断法や構成法はほぼ今日のものに近かった。1790年、イギリスの指物(さしもの)師トーマス・セイントがミシンの原型というべきものを発明、以来その改良が重ねられ、1851年にアメリカのアイザック・シンガーが画期的な留縫式ミシンを考案したことで、洋裁構成技術が大いに進歩し、19世紀末から20世紀にかけて衣服のマスプロ化を可能にした。

　日本に西洋の衣服が入ってきたのは16世紀で、戦国時代の武将など特権階級にあった者が、ポルトガル人やスペイン人の南蛮服を、また江戸の鎖国時代には長崎の出島に在留していたオランダ人の紅毛服を愛用した。1858年（安政5）には横浜商会内に軍服や既製服を輸入する商会がつくられた。この2年後の1860年（万延1）、日米修好通商条約批准交換使節団に随行した通詞(つうじ)、中浜万次郎（ジョン万次郎）が、ウイルソン会社製の手回しミシンを咸臨丸(かんりんまる)で持ち帰った。これがわが国におけるミシンの第1号であろう。1862年（文久2）に、宣教師夫人ブラウンより、沢野辰五郎(たつごろう)らがミシンの使用法や婦人服の裁縫技術を習っている。同年、服装の簡素化を図って幕府の服制改革が行われた。1866年（慶応2）には調練用に着物式軍装の戎服(じゅうふく)（筒袖、陣羽織、陣股(じんこ)式）が採用された。これより前の1864年（元治1）に、沼間守一はイギリス軍人の古着を解体して型紙を試作し、長州征伐の兵が着用した軍服をつくっている。また、中浜万次郎の持ち帰ったミシンを買い取った、東京・芝の洋服屋、植村久五郎は軍服の調製にあたった。

　1867年、ドイツのロスモンド・ウィルマン商会や、同じくラダージ・オエルケ商会という注文仕立てのテイラーが、既製服の輸入を、また、ドレスメーカーのミセス・ピールソンは衣料商と帽子の製造を始めた。翌年、幕府の手で開成所が開設される。この開成所で、ミシンの技術の教授と仕立物の注文を受ける旨の「西洋新式縫物器械伝習並に仕立物之事」と題する広告記事が『中外新聞』1号に掲載され、ミシンの発達と裁縫界に一大転機がもたらされた。

　1868年（明治1）、西洋人によりテイラーやドレスメーカーが開かれた。これらは主として、前者は香港(ホンコン)から進出してきたイギリス人や、上海(シャンハイ)に支店をもつラダージ・オエルケ商会系のドイツ人、後者は滞日西洋夫人の経営の店が多い。横浜のほか、長崎や神戸にも西洋人が開業したが、渡来した中国人の洋裁技術者の開業した店の数は、西洋人のそれをしのいだ。1871年に慶応義塾内に仕立局が設けられたが、これはのちに丸善洋服部に変わった。1870年に軍服が制定され、陸海軍服が洋式になったほか、官公吏、警察官、郵便配達夫、鉄道員の制服はすべて洋式になった。1872年、太政官(だじょうかん)布告が発せられ、男子の礼装は、衣冠を祭服とするほかは洋装化することになった。この筒袖(つつそで)、股引(ももひき)の服の仕立てには、西洋人や中国人の店で修業した足袋(たび)職人、衣屋(ころもや)、袋物職人があたっている。同年、ドイツ人、サイゼン女史は築地居留地内に洋裁学校を創設し、日本の女性にその技術を教授したが、西洋人の家庭の「手間仕事」から婦人服の技術の習得をした者は多い。洋服の仕立ての技術を身につけた彼らは、のちに独立開業し、舶来屋とか女唐服(めとうふく)屋とかよばれた。これらの注文服屋は「一つ物屋」、軍服や官服の既製服屋は「数物屋」といわれ、東京と大阪に集中していた。

　1873年わが国で初めての洋服裁縫書『改服裁縫初心伝』（勝山力松著）が発行されたが、これには礼服（燕尾(えんび)服）、平服（フロックコート）、達磨(だるま)服（詰め襟）、背広の裁ち方が詳しく述べられている。1878年に原田新次郎訳『西洋裁縫教授書』が出版され、採寸、製図、グラージュ尺（比例尺）とインチ尺の図引法、補正などの解説が載っていた。1883年、欧化政策の一環として鹿鳴館(ろくめいかん)が建設され、1885年には皇后宮思召書(おぼしめしがき)により洋装が奨励された。翌年に宮廷婦人服が洋装化し、一時的な洋装模倣時代になったが、極端な西欧化への非難によって長くは続かなかった。だが、1888年には、大家松之助編訳『男女西洋服裁縫独(ひとり)案内』なる本が出ており、このころ、最初の服装雑誌も刊行されている。

　日清(にっしん)・日露の両戦役では大量の軍服の製作の必要に迫られ、その後に続く戦勝祝賀会や舞踏会、園遊会などでは洋服が着用されて洋裁技術の進歩とミシンの普及を促した。明治後期には、来日西洋人の増加、日本人の洋服着用の流行から洋服業も発展し、西洋人、中国人、日本人の洋服屋は横浜に集中していた。1906年（明治39）にシンガー裁縫院が設立されると、しだいに洋裁学校が設立されるようになって、女学校の教科書にも洋裁が取り上げられた。

　大正中期の生活改善運動や大正デモクラシー思想の影響で、洋服は女子学生の制服、運動着、「職業婦人」の服、子供服、肌着にまで及んだ。また、1923年（大正12）の関東大震災、1932年（昭和7）の白木屋の大火などを契機にして洋装化が普及し、一方、すでに洋装のモガ、モボが出現しており、学校の制服やバスガールの制服などにも洋服が採用された。さらに、当時の世界大恐慌の不況を反映した「職業婦人」の増加が洋装化に拍車をかけた。震災後は、横浜の西洋人の洋服屋は帰国し、中国人、日本人の洋服屋は東京や神戸へ分散していったが、その後東京が洋服業の中心となった。すでに1922年に文化裁縫学院（1936年文化服装学院と改称）が、1926年にはドレスメーカー女学院が設立されていた。

　最初のスタイルブック『服装文化』が出たのは1934年である。女性雑誌の付録として洋裁独習書がつき、家庭洋裁の便を図っていた。洋裁学校出身のドレスメーカーも出現し、日本人の洋服屋が各地に開業、1929年には既製服業者組合が結成された。また1937年には田中服装学園が設立されている。当時、日本人の衣生活は、男子では3分の2以上、女子では3分の1以上を洋服が占めていた。

　第二次世界大戦終了までは和洋折衷の衣生活が展開されたが、戦後は和服から洋装への転換期を迎えた。洋裁学校の新設は急増し、和裁と並んで洋裁が花嫁修業の一つに数えられるようになった。ドレスメーカーは女性の職業となる一方、デザイナーという職業も確立して、1948年（昭和23）には日本デザイナークラブ（NDC）が設立されるに至った。欧米のモードが急速に導入され、それに伴って洋裁も盛んになり、洋裁雑誌も多々発行された。

　1952年には日本の婦人・子供服標準寸法が制定され、徒弟制度の残っていた洋裁技術習得は、職業訓練法の制定（1958）や、労働省（現厚生労働省）の洋裁技能検定試験（婦人・子供服注文服製作作業と同既製服製造作業、紳士服注文服製作作業と同既製服製造作業）で明確にされた。また関心の高かったパリ・ファッションの新技術導入の必要性から、パリの一流デザイナーたちを招いてファッション・ショーや講習会が開かれた。1956年には日本のデザイナーがパリに進出、1962年にはパリのオートクチュールがプレタポルテ（既製服）を発表し始めて、既製服の高級化、ファッション性や技術の向上などがみられると、家庭洋裁は往時ほどもてはやされなくなった。洋裁学校における技術教育も、個人の仕立物製作にとどまらず、衣料・既製服業界で量産化に対処できるような技術者やデザイナーの育成を意図するようになった。

　これと相まって、既製服業界は大きく発展し、かつては自分でつくるか注文するか、あるいはイージーオーダーを利用していた人も、しだいに既製服を利用し、個性的に着用するようになって、洋裁人口も減少しつつある。しかし一方で個性が重んじられる現代では、ホームソーイングの手作りのよさが再認識されている。また、家庭用ミシンは足踏み式から電動式へ、そして電子からコンピュータへと技術的に大きく進歩し、高性能のミシンの出現で、着るためにつくるのではなく、装うためにつくる家庭洋裁が普及しつつあるといえよう。

　日本の衣生活は完全に洋服中心となり、それを支えているのが容易に手に入る既製服であるが、家庭洋裁は趣味と実益を兼ねたものとして存続していくものと思われる。

［田村芳子］

洋裁技術

洋服の特徴は、体にあわせて立体的につくられる点にあり、和服が平面的であり、着付によって体にあわせるのと異なる。洋服は、家庭洋裁によるもの、既製服、注文服、イージーオーダーによるものの4種がある。第二次世界大戦後、洋裁が盛んになり、洋裁人口が多かった時代は、家庭洋裁によるものや仕立物が多かったが、昭和30年代より徐々に既製服が幅を利かせるようになり、昭和40年代には完全に既製服の時代になった。洋装生活の完全なる定着化、大メーカーによる大量生産技術の進歩、サイズの多種化、注文服の仕立代の高騰、小売ブティックの増加、化学繊維の発達、レジャーの多様化などがその理由であった。

　日本の洋裁は、おおかたが紙上で原型を作図し、それを基に、デザインした服の型紙をおこす平面裁断である。原型の作図法は、主たる洋裁学校がそれぞれ独自のものをもっており、文化式、ドレメ式、田中式、伊東式などが主たるところである。いずれも、服のデザインを決めたのち、着用者の各部位の採寸、原型作成、型紙作成、裁断、仮縫い、本縫い、仕上げの基本的過程は共通している。学校の家庭科の授業では、この原型を用いた型紙教育を行っている。標準寸法を基にしてつくった服の型紙の着丈、身丈、胸囲、胴囲、袖(そで)丈などを、各自の寸法に応じて補正するものである。しかし、かつてのようにいかに洋服をつくるかというよりも、既製服を上手に利用するための目を養うためにつくる方向に変わってきているのは事実である。また、第二次世界大戦後アメリカから導入されたパターン・ソーイングもこの平面裁断の変形であり、これをさらに簡単な作図法にした箱型紙（方形の枠の内に作図していく簡略型紙）や方眼用紙を利用した簡便な方法もある。

　一方、これと対照的なものが立体裁断（英語でドレーピング、フランス語でクープ・ド・ムラージュ）である。これは、原型をつくるかわりに、トアール（粗布）か紙を人体（または人台）に当てて、印をつけて裁断し、それを人体から外して型布とし、実際に用いる布の上に配置して裁ち合わせる方式である。布を直接、立体的なものに当てて、その動きや量を見られるという特徴がある。この方式は、明治初期に西洋人によって男子服職人に伝えられ、婦人服の仕立屋でも用いられたが、和服感覚の消えやらぬ日本人の間には、独自に開発した平面裁断が大量伝達の方式として普及した。だが第二次世界大戦後、欧米のファッションが日本に大量に導入されるようになると立体裁断への関心が増し、その重要性も認められ、現在では被服構成の教育カリキュラムにも含まれている。

　洋服仕立てには、二つの主要な流れがある。フランスのクチュール（洋裁店にみられる一点物製作）とアメリカの大量生産方式である。フランスのクチュールはいくつかのアトリエをもっており、ローブ（ドレス）とタイユール（コート類）とに分かれている。ここでは、クチュリエ（男）またはクチュリエール（女）がデザインをすると、先に述べた立体裁断の方法のように、シェフが人体または人台にトアールを当てて印をつけて裁断し、お針子が縫う。仮縫いは最低4回はなされ、1着の服は1人のお針子が一貫して受け持つのである。

　アメリカは既製服の発達している国であるが、大量生産の合理的な過程が確立されている。まず、チーフデザイナーがデザインしたスケッチを基に、アシスタントデザイナーがサンプルメーカーにサンプルをつくらせる。この服の企画、生産、販売が決定されると、パターンに多少の変更を加えて工業パターンがつくられ、これを用いたサンプルがつくられる。ミスィズ、ミスプティ、ジュニア、ジュニア・プティ、ヤングジュニアまたはティーン、ハーフサイズ、ウィメンズに大別されて、おのおのは、さらに6～8種のサイズにグレード（拡大や縮小）される。用布を見積もり、型紙にあわせて印をつけ、布を何センチメートルもの厚さに重ねたまま裁断し、各部分部分を縫い合わせ、付属品をつけて仕上げられる。これらはすべて機械化されており、分業によって行われる。日本の既製服製造過程もほぼこれと同じである。

　日本の洋裁は、多分に和裁の影響を受けており、細部にまで及ぶ縫製技術偏重のきらいがある。これは、表から見えない個所までていねいに縫い上げるという、アメリカの19世紀的洋裁に似ている。一方、服というものは最終的に着られさえすればよいという考えが前提にあるところから、フランスやイタリアなどでは、手を抜けるところは抜いても、着装時に服のかもし出す雰囲気を尊重し、美しく、しかも個性豊かなファッション性のほうを重要視するようである。つまり、服というものを一つの物としてみるか、自己表現の一手段として考えるかという相違がある。今日のアメリカの消費文化のなかでは服は着捨てられるが、ヨーロッパではできるだけ長く、ときには数世代後まで残そうとする。歴史、社会、文化、経済、人間性などの背景の相違からくるものであろう。

　日本人は外来文化をすばやく取り入れ、従来の文化に同化させて、新しいものをつくりだす才がある。洋裁においても外来のものを消化して日本のものとし、いまではパリ、ニューヨーク、ミラノなどのファッションのメッカと並んで、世界市場への進出を果たすまでになった。これは、欧米の洋裁技術教育の普及と、日本の着物の伝統を踏まえたデザイナーたちの独創性に負うところが大きい。さらに、西欧化された日常生活に不可欠となった洋服にかかわる教育、出版、製造、商業などの各業界によってつくられた総合的発展の素地を無視することはできない。

［田村芳子］

『遠藤武・石山彰編『図説日本洋装百年史』（1962・文化服装学院出版局）』▽『朝倉治彦・安藤菊二・樋口秀雄・丸山信編『事物起源辞典・衣食住編』（1970・東京堂出版）』▽『リーダーズダイジェスト編『世界の家庭叢書　ホームソーイングブック』（1978・日本リーダーズダイジェスト社）』▽『日本風俗史学会編『日本風俗史事典』（1979・弘文堂）』▽『東京婦人子供服工業組合編・刊『東京プレタポルテ50年史』（1982）』

[参照項目] | 裁縫 | ミシン

松斎吟光『貴女裁縫之図』
鹿鳴館に集う明治時代の上流夫人たちは、こぞって洋裁を習った。1887年（明治20）国立国会図書館所蔵">

松斎吟光『貴女裁縫之図』

洋裁における布地、糸、針の関係

出典　小学館　日本大百科全書(ニッポニカ)日本大百科全書(ニッポニカ)について　情報 | 凡例

<<: Fortress - Yosai

>>: Yang Hu Pai - Yoko (English spelling)