How many coats do you own? (Not enough?) How many do you need? (More than you know!) Putting need aside, how many should you have? (Plenty!) In your sewing and in planning your wardrobe, do you give as much thought to your coats as you do to your dresses or pants or blouses? My guess is that you do not.
In our very casual world, coats seem to have taken on the essence of “practical” or “function over form.” To me, this is such a shame, as I believe coats have an aura to them unmatched by any other garment. They are, after all, so often a significant part of the first impression you make when arriving at an event or party – or anything for that matter. A fantastic coat can also leave a lasting impression when departing such an event.
In her iconic book, What Should I Wear, Claire McCardell devotes an entire chapter to coats. Here is just a small snippet of her thoughts on the impression that your coat can make: “…Remember that a first impression often comes when you are wearing a coat. When you are interviewed for a job, you keep your coat on. Your future employer’s first impression of you may be based on the coat you are wearing.
When you walk down the aisle of a theatre, you are wearing a coat … your audience has already judged you and the most beautiful dress in the world cannot alter that first impression. Coats ride buses and subways and taxicabs…. A coat is not something to be dismissed lightly.” (The Rookery Press, New York, New York, 2012, pages 61- 62.)
In The Little Pink Book of Elegance: The Modern Girl’s Guide to Living with Style, by Jodi Kahn, she writes: “Many an elegant look is spoiled by throwing on a coat or a wrap that is anything but . . . [I]f you think about the most elegant women you know, or those in the pubic eye, you’ll probably realize they have fabulous outerwear. In the ‘60s, Jacqueline Kennedy asked her designer of the day, Oleg Cassini, to pay special attention to what she wore over her clothes since she was always being photographed coming and going. Even if you don’t have to worry about getting your picture snapped around every corner, a few great coats will transform almost any [look.]” (Peter Pauper Press, Inc., White Plains, New York, c2005, pages 29-30.)
A beautiful coat can also hint at what is beneath it. One of the most elegant looks one can wear (and make for herself) is a matching coat and dress ensemble, where the two pieces are intended only to ever be worn with each other. Such a coat and dress often share similar style lines. This Vogue Couturier Design by Mattli of London is an example of this:
Another example of a coat and dress with complementary style lines is this Vogue pattern:
And although the style lines of the dress and the coat in this Vogue Paris Original by Madame Gres are not matching, clearly the coat and dress featured in blue on the pattern envelope are intended as such an ensemble:
Here is an example of a formal dress and matching coat, sharing seaming details and clearly designed to go together. Would this dress be anywhere as exciting without its matching coat?
This evening coat makes my heart skip a beat!
Not every coat needs to match a dress, however. Here is a small sampling of coats, both dressy “dressmaker” coats and classy, more tailored coats, the prototypes of which have their rightful place in your coat wardrobe:
This is my original pattern from which I made the featured coat when I was in my mid-twenties. I loved this coat and only wish I still had it!
I am very anxious to make a coat from this pattern.
This is a beautiful example of a dressmaker coat.
Another dressmaker coat.
A coat better suited for everyday wear, but still beautiful.
One of the many catalogs we receive here at our home is the catalog from the J. Peterman Company. It is so creatively conceived and presented, with each entry reading like a mini story, and often evocative of other times and places. The “Owner’s Manual” (as the company’s catalogs are called) arriving during this past holiday season was no exception. Imagine my delight when turning the page to this entry for a “French Coat with timeless Parisian style.”
Click on the image to read its story.
But what really caught my eye was the caption at the top of the page: “I want to know the woman in that coat.” In a nutshell, that sums up the power of a beautiful coat. What fun to know that, as ones who can make our coats, we can also be the woman who made that coat!
And now, in deference to some of my readers who want progress reports on my Number Four Classic French Jacket, here are a few photos – and a short quiz for those of you who have never made one of these jackets, but hope to one day.
Here is the neckline, ready to be stitched.
I call this the “vest” stage. This is the front of the jacket . . .
And this is the back of the jacket.
It is always fun to pin the sleeves on quickly just to see a jacket taking form!
As you can see, all the machine quilting is complete. I’ve finished the interior seams as much as I can at this point. The next step is to insert the sleeves. Then I can complete the finishing work on the interior seams and the hems and get to work on the trim and the pockets.
QUIZ: How much more will I be using my sewing machine to do this work?
- a) only for the insertion of the sleeves
- b) only to make the pockets
- c) both for the insertion of the sleeves and to make the pockets
- d) not for anything
Back to Coats: Are you ready to make one after reading this post? I hope so!
Reflections on the Couture Legacy of Norman Norell
It was my distinct pleasure and good fortune to visit the current Exhibition on Norman Norell at the Museum at the Fashion Institute of Technology (MFIT) in New York City last week. For those of you not familiar with this mid-century American designer, you may be surprised to learn of his enduring influence on, and remarkable contributions to American fashion and glamour. He also, in his extensive and versatile body of work, employed the finest couture techniques, making his clothes still the envy of designers and those of us who strive for excellence in our fashion sewing.
Norell: Dean of American Fashion opened on February 9, 2018 and will close on April 14th. Guest Curator and designer Jeffrey Banks and Deputy Director of MFIT, Patricia Mears, collaborated on this Exhibition. Included are examples from his entire career; however, the Exhibition focuses for the most part on his final, spectacular 12 years, from 1960 – 1972. Norell (1900-1972) left his native Indiana to pursue his interest in illustration and fashion design in New York. He worked under Hattie Carnegie, and then at the beginning of World War II he began a partnership with Anthony Traina, the label for which is the well-known Traina-Norell designation. It was in 1960 that Norell started his own eponymous line of clothing, and it was during this period, up to his untimely death in 1972, that he set his real mark on American fashion.
To all of you I commend the MFIT Exhibition website for learning more about Norell’s life and the evolution of his body of work, including a fascinating video presentation by Exhibition Curator Jeffrey Banks. (Be sure to click on “explore the Exhibition website” which will lead you to some excellent content.) It was with this background knowledge that I entered the Exhibition, knowing I wanted to view it on two levels – 1) as a dazzling display of some of the most beautiful fashions ever assembled, and 2) as an opportunity to see up close some of the construction details, style lines, and elegant touches in his fashions, serving as inspiration for my own fashion sewing.
The Exhibit is physically divided into two areas, the first of which serves as a guide to his trademark themes, each with a small grouping of fashions. I was immediately smitten with this selection of LBDs:
All of these dresses have a timeless appearance, making them as stylish today as when they were designed. From left to right, #1 Label: Norman Norell New York. Black sleeveless bodice with skirt and satin sash, 1963. wool jersey, wool twill. Lent by Kenneth Pool [a major lender to the Exhibit.];
#2 Label: Traina-Norell New York. Black cocktail ensemble, 1950. silk chiffon, silk satin. MFIT, Gift in memory of Miriam Abrams; #3 Label: Norman Norell New York. Black dress with belt, 1962-1963. Wool, leather. MFIT, Gift of Mortimer Soloman.
Click on the photo for a closer look.
It was all I could do to keep from reaching over to see more of it. Noted on the caption were ”the hand-picked zipper and extra wide seam allowance, the deep hem … edged with bias-cut silk so that it is softly defined yet sturdy. Furthermore, the neckline and armholes are minimally interfaced to give shape without impeding movement, and they are under-pressed in order to hide the seams.”
The larger gallery of the Exhibit practically took my breath away when I entered. The large center stage is resplendent with examples of his famous eveningwear, including his sequined “mermaid” dresses.
The low light in the Exhibition gallery only added to the ambience and allure of these creations.
Around the perimeter of the gallery were featured many, many of his glorious coats, capes and dress suits, as well as dresses. I snapped this photo of one of his trademark sailor dresses to show the hand-picked zipper and the large patch pockets applied by hand (note the provenance on this dress in the caption):
Label: Traina-Norell New York. Off-white sailor dress with navy collar and red tie, circa 1957. Linen. MFIT, Gift of Lauren Bacall.
There were so many terrific examples of Norell’s vibrant use of color, including this coral cape from 1962.
Label: Norell. Coral double breasted cape, 1962. Wool melton. Lent by Kenneth Pool.
And I could not take my eyes away from this combination of off-white evening gown with a red bolero jacket and peacock blue sash from 1968.
The beautiful shape of the jacket, with those amazing buttons and bound buttonholes, sets off the sash to perfection. Label: Norman Norell New York. Off-white evening gown with red bolero jacket and peacock blue sash, 1968. Cotton organdy, wool, silk taffeta. Lent by Kenneth Pool.
Another brilliantly hued ensemble is this pink evening coat with matching skirt and blouse from 1964. Note the rhinestone buttons, the beautiful bound buttonholes, the angled pockets, and the lovely seaming detail of the high yoke on the coat which descends into the sleeves.
Label: Norell, Norman Norell New York. Pink evening coat with matching skirt and blouse, 1964. Wool, rhinestone buttons. MFIT, Gift of Lauren Bacall.
Norell was known for his cone and wedge-shaped coats, of which this purple one is an excellent example. Note the spread of the descending buttons on this coat:
Photography was permitted, although flash photography was not, so my pictures do not do justice to many of these fashions. Label: Norell. Purple cone shaped double breasted coat with Peter Pan collar, 1966. Wool melton. Lent by Kenneth Pool.
This coat and pants ensemble from 1970 is set off beautifully by its wide belt:
Label: Norell. Coat and pants ensemble, 1970. Wool herringbone, leather. Lent by Kenneth Pool.
The collar is absolutely stunning. And those bound buttonholes are a work of art in that heavy wool herringbone weave.
Norell used the talented stitchers of the garment worker’s union to make his clothing.
While I am writing about coats (one of my favorite subjects!), I want to show you details from two which help to illustrate the quality and finesse for which Norell’s fashions are known. First is this pocket detail from an off-white coat with black collar, 1962-1965.
Label: Norell. Off-white coat with black collar, 1962-1965. Wool and velvet. MFIT, Gift of Mrs. Jane Albert
The right edge of the flap is angled slightly to follow the side seam line, a subtle touch which gives it a graceful appearance.
Second is another pocket detail on a beige coat with pilgrim collar from 1968:
Label: Norell. Beige coat with pilgrim collar, 1968. Wool. MFIT, Gift from the collection of Margery J. Davidson, lovingly donated by her son Harold S. Graham.
The pocket is an extension of a princess seam, beautifully angled. And more shaping is apparent to the left of the full-length seam, giving this coat such elegant and refined lines.
Seeing this following grouping of dresses and jackets gave me a new appreciation of the concept of “less is more.” According to the caption, Norell “chose to trim his day and evening wear with mink, fox, and sable. The judicious use of this expensive and sensuous material elevated the glamour quotient of his restrained daywear.”
From left to right: #1 Label: Norell. Pale oatmeal midi dress and bolero jacket, 1967. Wool, crystal fox. Lent by Kenneth Pool. #2 Label: Norell. Pale peach jacket and black gown, 1966. Brushed wool, fox, sheer jersey. Lent by Kenneth Pool. #3 Label: Norell. Red and black check suit, 1962. Wool, black fox, leather. Lent by Kenneth Pool.
One more Little Black Dress has the most beautifully placed buttons:
Label: Norman Norell New York. Black dress with jeweled buttons, 1965. Wool crepe. Lent by Kenneth Pool.
I loved the caption which (partially) stated: “Deceptively simple, Norell’s dresses were visually quiet but strategically constructed… to enhance a woman’s body.”
I could go on and on as there is so much more to celebrate about this remarkably talented “Dean of American Fashion.” Fortunately, the Exhibition is accompanied by a book, titled: Norell: Master of American Fashion, by Jeffrey Banks and Doria de la Chapelle. Published by Rizzoli, the book is lavishly illustrated and beautifully presented, both in content and inspiration. I commend it to you.
In closing, on a personal note, I cannot help but think back to 1972, the year I graduated from college and the year Norman Norell died. So much has changed in the world of fashion and fashion sewing since those heady years. Seeing an exhibition like this one is a lovely reminder of the true timelessness of quality and restrained elegance, providing endless inspiration to those of us who dream and sew.
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Filed under bound buttonholes, Capes, Coats, Cocktail dresses, couture construction, Day dresses, Dressmaker coats, Dressmaker suits, Fashion commentary, Fashion Exhibits, Little Black Dress, Mid-Century style, Suit dresses, Uncategorized
Tagged as American designers, couture construction, Fashion Institute of Technology, fashion sewing, Mid-Century style, Norman Norell, vintage fashion