#evening coat
TWO FUR TRIMMED EVENING COATS, 1920s
1 gold & silver lamé coat w/ Fauvist stylized forest motif in shades of pink, orange, aquamarine & cream, chinchilla trimmed at cuff & collar, lined in orange plush, 1 interior patch pocket, open front,
1 Fortuny inspired black silk velvet gold stenciled coat in Art Deco floral & vine motif w/ angel sleeves & ruched silver lamé collar lined w/ white rabbit fur, entirely lined in silver lamé.
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VELVET EVENING COAT, 1940s
Olive green floor length cotton velvet coat w/ red flannel lapels & pocket trim, decorated w/ gold lame thread & two tone green beading in bud & vine motif, gathered at the center back.
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Evening Coat
J.Hock
1910-1913
Woman’s red velvet evening coat lined with white satin. It is a wrap-around “kimono” style with long dolman sleeves. The lapel and cuffs are trimmed with pink embroidery having metallic threads. Label: J. Hock, Detroit.
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Evening Coat
Lucile
1911
Purple silk velvet and gold lame opera coat with silk satin lining and integral gold lame waistcoat.
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Evening Coat
Liberty & Co.
1925
Orange silk rayon jacquard with yellow chrysanthemum pattern; cuffs, front opening and hem in gold rayon; collar of beaver.
Images and text taken from the book:
Fashion: A History from the 18th to the 20th Century, Kyoto Costume Institute, pgs 446-447.
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Opera Coat
Jean-Philippe Worth
House of Worth
1912
In 1912, the dolman coat once again became a fashionable form of outerwear, reviving the silhouette that was popular during the 1870s and 1880s. Worn almost exclusively for evening, the coat’s draped silhouette was often cut like a kimono. The stunning velvet of this example by the House of Worth features oversized woodland flowers including cattails and jack-in-the pulpits.
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Evening Coat
Paul Poiret
1924
Stunning cocoon evening coat of black georgette, hand beaded overall in lines of black beads switching to gray translucent beads with a geometric ragged edge formed at the color change. The coat has a velvet collar and edging at the aperture and velvet cord along the top of the shoulders extending down the full length of the arms. The dramatic dolman sleeves are emphasized by a careful placement of the beadwork pattern. The construction derives from draping techniques. The front falls from the shoulders and sweeps into a cutaway closure to attach at the lowered waist seam in the back. The coat has tremendous graphic impact with the beadwork shimmering and moving as the light hits the garment. Fully lined and faced with black silk.
Details of this coat published on full page (page 195) in the book, “Poiret: Paul Poiret 1879-1944”, by Yvonne Deslandres.
In addition, its draped construction with the minimal number of pattern pieces is typical of Poiret’s design techniques. The coat’s opulence and dramatic impact are hallmarks of Poiret’s style. Early in his career, he used the cocoon shape, which was inspired by traditional Japanese clothing.
This coat is a great example of the style which became known as Art Deco. The functional aspects of the design construction creates the geometric surface pattern of the beadwork and though minimal in form, the sculptural impact is dramatic and graphic in the round because of the graphics.
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Evening Coat
Weeks (attributed)
French
1910-1912
The contrast of black chiffon over aqua satin contributes to this evening coat’s visual appeal. The use of tassels and braid trim reflect an Asian influence and the ongoing interest in Orientalism at the time.
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Evening Coat
House of Chanel
Gabrielle ‘Coco’ Chanel
1927
Silk jacquard patterned with black and green graduation and gold chrysanthemum motif; matching tie-collar; two panels at back; wadded sleeve hems.
The chrysanthemum had often appeared as a fashionable motif sine the latter half of the nineteenth century. The textile with woven chrysanthemums in Japanese makie-like (gold lacquer) style represents the taste of Art Deco. The soft wadded cuffs are similar to the kimono’s fuki (wadded hem) in style.
Images and text taken from the book:
Fashion: A History from the 18th to the 20th Century, Kyoto Costume Institute, pgs 448-449.
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