Concerning Coats II (1920s)

The 1920s begin where the 1910s left off: with coats being worn loose and enveloping, with belts, large pockets and lots of trimmings.

Perry-Dame, Fall and Winter 1920

6C2350—There are few fabrics that are better fitted for a general utility coat than WOOL-MIXED VELOUR—the material used for making this smart top coat.  This coating is warm, moderately priced and durable.  The coat is made with a handsome collar of soft, silky, Kit Coney fur.  The back, below the all round belt, displays two deep side plaits trimmed with buttons.  Buttons also trim the novel shaped pockets as well as the cuff effects.

6CC3675—SILK SEAL PLUSH in all its loveliness fashions itself with grace and simplicity into this luxuriously warm winter Coat.  This fabric is manufactured by the world-famous Salt's Company, which guarantees matchless beauty and lasting service in a Silk Plush.  The coat is designed with a convertible collar and button-trimmed cuffs of self-material.  There are two slot pockets.  The belt can be worn half inside or all around outside as desired.

6C1865—That a coat does not always need to be expensive in order to be smart in style and durable is demonstrated by the practical model above.  It is made of one of the most practical and satisfactory coatings—ALL-WOOL VELOUR.  The coat is designed on smart new lines and made with a large, stitched, convertible collar.  The back has rows of pin-cording and button-trimming, as pictured.  The cuff-effects and large patch pockets are also button-trimmed.  A belt defines the waistline and fastens in front to the pockets.

Large, cape-like collars seem to have been in vogue in 1920, and still in evidence in 1921.

National Cloak & Suit Co., Spring-Summer 1921

The separate coat favors loose, straight lines with a preference for raglan or kimona sleeves.  Belts are used on the blouse backed models, but models fitted at the waistline show darts and no belt.

"Paragraphs from Paris", Dry Goods Review (Canada), January 1921

Montgomery Ward, Fall-Winter 1922

The prophecy that this winter would see more cloth coats than formerly has come true, judging from the variety and quality now ready. Many women want something a little different from the Hudson seal and cannot afford more expensive furs. They will welcome, without doubt, the cloth ones.

"In Step With New York and Paris", Dry Goods Review (Canada), June 1922

Miroir des Modes, December 1923

This coat was also depicted in the December 1923 issue of The Delineator, where it is described:

For wear about town, the motor or hacking this top-coat with its straight lines and becoming collar is very smart.  Plaid coatings are used a great deal this season, although one may use Teddy bear, camel's-hair, tweeds, basket-weaves, fleeces, mixtures or soft pile fabrics ... for this coat.

The Delineator, December 1923

This coat follows the fashionable silhouette for 1923, with straight lines and a dropped waist (indicated by a single fastening on the wearer's left hip).

Le Petit Echo de la Mode, Dec. 7, 1924

E 123103.  MANTEAU en serge mouflonne, forme nouvelle à manches montées, avec col et parements de renard.
[E 123103.  COAT in mouflon serge, new shape with mounted sleeves, with fox collar and facings.]

E 123104.  MANTEAU en velours de laine, orné de loutre au col droit, aux poignets larges et au bas du manteau.
[E 123104.  Wool velvet COAT, with otter decorating the straight collar, wide cuffs and bottom of the coat.]

The lines for 1924 and 1925 are still straight and unbelted, with one (or at most, two) fastenings around hip level.

Charles Williams Stores, Fall and Winter 1925

With many weeks of cold, bleak weather ahead, we shall be wearing warm coats and costumes, and the girl who does most of her own dressmaking will be sure of having plenty of opportunities for wearing it, if she makes one of the smart wrap-over, straight-up and down, velour or tweed coats, trimmed at neck, cuffs and hem with a band of fur or the popular teazle wool trimming...

To be quite smart and up-to-date, this coat must be as short as the dress worn underneath, which of course is about twelve inches off the ground, and must show only one button as a fastening.

"Modes of the Moment", Everylady's Journal, July 1925

Weldon's Ladies' Journal, March 1926

74431—A smartly cut Coat for fawn marocain, with roll collar and cuffs of leaf brown.

74428—Face cloth makes this stylish Coat, with flared godets and stand-up collar, trimmed with vermicelli braid.

74429—A new season's Coat and Skirt for reps, with flared godets and rolled collar.  

74430—Made on the newest lines is this Coat for black marocain, trimmed with soutache. 

Stylish coats in 1926 feature flared skirts.

Weldon's Ladies' Journal, August 1927

Any hint of a flare has gone by 1927.  These coats are straight and short, with hems just skimming the knee.  Hemlines would remain at knee-length for the rest of the decade.

77398.  This Coat of hopsack with collar and cuffs of calfskin is made on straight lines.  The belt is cut in one piece with the patch pockets.

77399.  For charmelaine, fancy silk or suiting is this Coat.  The welted pockets are on the sland and the stand-up collar is topped with fur.

77400.  A useful holiday Coat made of light-weight tweed, trimmed with buttons and has pockets at the top of the wide box pleats at each side.

Pictorial Review, November 1928

While some of the leading couturiers occasionally display coats with circular capes and lines flaring slightly from the waist, it is evident that the slim, simple type is most favored for general wear.  

Pictorial Review, November 1929

The November issue of the Pictorial Review illustrates two early versions of the clutch coat—that is, a coat that is held closed by the wearer.  They gained status by being obviously impractical for any woman who needed her hands free.  One can imagine the wearers of these coats climbing into a limousine, but not onto a bus or tram!  Both these patterns were designed by Paris couturiers, whose clientele wouldn't have to worry about the practicalities of getting around or carrying their own shopping.

Coming Fashions, March 1929

And so we come to the end of the 1920s with a carefully matched ensemble:

Frequently the top coat that is slightly princess in effect has a matching skirt or frock of a lighter weight fabric.  A cashmere frock will accompany a llama coat of the exact beige shade, there will not be a shade variation between the blues or the brick reds of the two weaves.  When we match our coats and frocks this season we do it very carefully.

"The Three-Quarter Coat and the Jacket", McCall's, August 1929