VERA (Italie) vintage années 70, nappa d'agneau

SUNDAZED & OUTSIDE SOCIETY

...The oversized women’s brown leather coat, composed of supple lambskin and lined in muted tan twill, occupies a liminal space between postwar tailoring discipline and contemporary silhouette deconstruction—rendering it less an article of outerwear than a transitional artifact in the evolution of form. Its surface restraint—absent of embellishment, contrast stitching, or decorative hardware—deliberately displaces aesthetic overture in favor of sculptural quietude, where spatial language is developed through internal logic and constructional fluency. Broad lapels, a dual-snap closure, and a slightly dropped scye recalibrate traditional formalwear by introducing subtle volumetric distortion that reframes bodily perception without recourse to ornament. The result is a garment that privileges design as spatial reasoning, not graphic intervention. In its architectural modesty and anatomical generosity, the coat finds resonance with the softened grandeur of James Galanos’s late-career outerwear and Thierry Mugler’s early-1990s transitional silhouettes, wherein couture precision gave way to scaled elegance and curvilinear repose. Dries Van Noten offers a methodological parallel in his synthesis of internal structural discipline with visual restraint, just as Claire McCardell’s pragmatic utilitarianism infuses the coat’s functionality with a deeply embedded design ethos—garment as form-following function without losing softness or poise. The coat’s paneled composition, uninterrupted grain, and strategic lapel shaping signal an aesthetic doctrine shared by Rochas and Vionnet, where volume was not a decorative afterthought but a primary aesthetic agent. From Pas de Calais and Giuliva Heritage, the coat inherits a design philosophy that treats fiber behavior as generative rather than subservient—form is an output of textile properties, not an imposition upon them. This material intelligence extends through the tailored spatial literacy of Veronique Branquinho and Jean Muir, both of whom rotated sleeve heads and deployed asymmetric paneling to subtly recast the body’s geometry through design. The sculptural seamwork and soft lapel curve reflect the post-formal refinements of Isabel Marant Étoile and Martine Sitbon, designers who preserved the historical codes of tailoring while recontextualizing them through proportion and line. Internally, the coat adheres to a minimalist finishing logic that resists structural clutter—reminiscent of Stella McCartney’s elegant economy—while the tactile fluidity of the lambskin itself echoes the disciplined softness of Bill Blass, who in the 1980s elevated leather through coherence and composure rather than edge. Emanuel Ungaro and Louis Féraud, with their sculptural approaches to leather in haute couture, provide a technical and philosophical backdrop to the coat’s precise movement mapping, while Ted Lapidus and Narciso Rodriguez reinforce its commitment to uninterrupted drape and clean structural inflection. Elie Saab’s enveloping femininity appears not through excess but via spatial clarity, translated here into full-body coverage absent of flourish. The piece’s dual-snap closure and controlled lapel rise also suggest a quiet homage to Maison Margiela’s subversive formalism—specifically the Tabi line’s spatial restraint, where design is restructured through absence. Roland Mouret’s earlier body-centric sculptural language appears in the coat’s central shaping—suggested, never overt, sensed more than seen. Although anonymous, the coat demonstrates global fluency: from Lemaire and Nehera, it draws the idea of softness as structure; from Rosetta Getty and Gabriela Hearst, the notion that luxury lies in continuity and composure, not spectacle. Studio Nicholson and Toteme inform its dimensional minimalism—garments abstracted from tailoring through modulation of scale, not through narrative rupture. From Sofie D’Hoore and Rejina Pyo, the coat gains an understanding of volume as a sculptural utility, not an aesthetic excess. Bevza and Joseph supply an ideological bedrock of line purity and natural-fiber responsiveness, ensuring that elegance remains an outcome of coherence, not effort. Amomento and Low Classic inject a quietly radical Seoul-based spatiality—manifest in the forward-rolled collar, directional sleeve break, and the volume-controlled mid-hip seam that shapes without imposing. Prada’s cold-logic minimalism, Marimekko’s commitment to shape over print, and Maison Ullens’s softness-as-structure further reinforce the coat’s embedded clarity, while Flynn Skye lends a contemporary pragmatism to its composure. The imprint of Azzedine Alaïa is faint but present, visible in the silent anatomical fidelity beneath the surface, while Rodarte’s emotive restraint emerges in the way femininity is expressed through architecture rather than flourish. What emerges is a coat that does not merely clothe the body but rearticulates it—a work of silhouette literacy, textile precision, and conceptual rigor. Each of the twelve contemporary designers cited—Lemaire, Nehera, Rosetta Getty, Gabriela Hearst, Studio Nicholson, Toteme, Sofie D’Hoore, Rejina Pyo, Bevza, Joseph, Amomento, and Low Classic—anchors a facet of this garment’s ethos, not as decorative touchpoints but as technical referents. The result is not fashion-as-statement, but design-as-discipline: a garment that communicates through its structure, defines space through material fluency, and achieves presence through internal coherence. It is not an accessory to the body—it is an extension of its spatial logic, a calibrated expression of form, drape, and density that resists both nostalgia and novelty in favor of lasting architectural clarity.

Brand: VERA
Origin: Italy

Vintage (mint condition)


Tag: 46, A Norma Della Nocce
Color: Caramel
Size: XXL
Fabric: Leather
Composition: Lamb Nappa



Measurements (cm)
Chest: 70
Length: 84
Shoulder: 50
Sleeve: 65

SKU: 003636

€ 38.42