Magyari Márta szerk.: A Debreceni Déri Múzeum Évkönyve 2008-2009 (2010)
NÉPRAJZ, KULTURÁLIS ANTROPOLÓGIA - Petrovszki Ildikó: „A mesterségben való ügyességét a Remekje fogja ki tüntetni" - A debreceni német szabók remeklése (1790-1871)
116 PETROVSZKI ILDIKÓ FLÓRIÁN MÁRIA (SZERK.) 1998 Az Mester Emberek Míveinek árazása. Váltó- és vásármíves magyar szabók, német szabók és zubbonyosok árszabásai (16261820). MTA Néprajzi Kutatóintézet, Bp. FRECSKAY JÁNOS 1912 Mesterségek szótára. Bp. 33. füzet: Szabómesterség HAJDÚ TAMÁS 1997 A XIX. századi debreceni férfiruha a nemzeti viselet változásának tükrében (kandidátusi értekezés). Déri Múzeum Néprajzi Adattára 3078/2007. HAJDÚ TAMÁS 2008 A kismagyar. Bp. KRESZ MÁRIA 1956 Magyar parasztviselet (1820-1867). I—II. Bp. NAGY GÉZA-NEMES MIHÁLY 1900 A magyar viseletek története. Bp. SÁGVÁRI GYÖRGY 1987 Az atilla. Hadtörténeti Múzeum Értesítője 2.249-294.0. SZÁDECZKYLAJOS 1913 Iparfejlődés és a czéhek története Magyarországon. I—II. Budapest. SZULOVSZKY JÁNOS 2005 A kézművesipar helyzetének változásai a céhek megszüntetésétől az államosítás küszöbéig. In: Szulovszky János (szerk.): A magyar kézművesipar története. Magyar Kereskedelmi és Iparkamara kiadása, Bp. 243-286.0. TOMPOS LILLA 2005 A díszmagyar. Bp. VARGA GYULA 1984 Debrecen kézműipara 1693-1848 (kandidátusi értekezés). Déri Múzeum Néprajzi Adattára 2130/84. 1981 Ipari termelés - a társadalom iparos rétegei. In: Rácz István (szerk.): Debrecen története 2.1693-1849. Debrecen ZOLTAI LAJOS 1938 Debreceni viselet a XVI—XVIII. században. Ethnographia XLIX. 75-108.0.287-315.0. Ildikó Petrovszki Masterpieces of German tailors in Debrecen (1790-1871) In the second half of the 18 t h century some new crafts appeared in Debrecen. They were partly new branches of industry, introducing new production technologies, and partly crafts related to clothing and home decoration, serving the new demands of middle-class lifestyle. The attribute "German" refers to using western patterns in production. The German tailors received their letter patent from Maria Theresa in Vienna in June 1780. First they formed a joint guild with the shoemakers, and after their separation in 1815 they worked independently until the abolition of the guild system in 1872. Throughout the centuries, the main function of guilds was to provide and supervise professional expertise and quality. The most effective way to achieve that - apart from requiring previous training - was the exam assessing the real professional knowledge of the would-be guild member: the making of a masterpiece. Masterpieces showed the current professional level of the particular craft, serving as testimony for posterity. The present study aims at giving additional information on masterpieces by analysing the record of masterpieces, kept continuously from 1790 to 1872, of the guild of German tailors in Debrecen. The analysis of the "masterbook" as a microhistorical source that recorded the circumstances of the creation of masterpieces by the would-be guild masters gives an additional insight into the local aspects of the history of 19th-century industry and fashion. The German tailors' customers - rich merchants and tradesmen forming the upper stratus of the bourgeoisie, as well as town and county officials, members of the clergy and the wives of them all - kept track of the latest fashion. Therefore, the journeymen working on their masterpieces were also expected by their masters to be up-to-date on fashion issues. The masterpiece assignments always took the current fashion into consideration, and new clothes that had just come into the fashion of the nation appeared immediately in the range of masterpieces. As regards men's clothing, a journeyman had to prove his skills in sewing both western-style garments and traditional Hungarian braid-decorated outfits. The "German" outfit included a long overcoat or tails to match knee-length trousers and a white vest. The Hungarian outfit consisted of a hip-length dolman or its longer version ("atilla") and long, braided Hungarian trousers. Among the German tailors' permanent products were military uniforms, which provided them with constant, well-paying orders at all times. During the 1848-49 war of independence, for example, Hungarian military uniforms were the only assigned masterpieces. The main task of those who opted for women's clothes as their masterpieces was to sew a one-piece dress as well as various sleeved or sleeveless tops. The Hungarian national fashion of the early 1860s is represented by such pieces as the Hungarian pelisse and women's atilla. The materials used for these masterpieces show that as soon as fashionable fabrics appeared at textile shops, they were immediately used in dressmaking, their varied colours and patterns providing additional variation possibilities to women's clothes, already various in terms of cut and small ornamentational elements.
