I.V. (Allemagne de l'Ouest) vintage remise années 60, vison, ligne A

...The vintage women’s full-length mink coat, likely originating from mid-to-late 20th century Germany, exemplifies the apex of postwar bourgeois outerwear, where material decadence, volumetric control, and constructional discipline coalesce into a singular sculptural form. Fabricated in horizontally paneled sections of genuine natural mink dyed in a calibrated dawn-to-fawn gradient, the coat’s chromatic stratification achieves a rhythmic and materially coherent surface—each pelt meticulously aligned in pile direction, tonal transition, and density equilibrium. This level of precision recalls the studio methodologies of Yves Salomon, where splice points become spatial inflections and fur is manipulated as a structured, directional textile rather than a passive surface treatment. The chromatic transition—from warm terrestrial browns to cooler silvery undertones embedded in the mink’s guard hairs—activates a topographic modulation that echoes Azzedine Alaïa’s early outerwear vocabularies, where surface is terrain and silhouette is derived through material choreography. The garment’s silhouette is architecturally resolved into an A-line form, expanding from a narrowed, lightly structured shoulder into a fluted hemline. This silhouette defines a controlled shoulder-to-waist taper that articulates upper-torso containment while projecting elegance with a restrained authority. The closure system, likely composed of discreet hook-and-eye fastenings, maintains an uninterrupted vertical axis that supports the garment’s visual serenity. This compositional clarity extends to the high-stand collar, which avoids decorative flourish while conveying ceremonial formality and structural restraint—invoking design philosophies found in Chanel’s haute fourrure and Phoebe Philo’s silent maximalism at Celine, where technical minimalism operates as a vehicle for design authority. The coat’s high neckline and concealed closures also align with Pauline Trigère’s architectural minimalism, in which restraint and structural clarity supersede decorative gestures. This purity of line is echoed internally through a satin lining applied with hand-finished precision and a gilt-thread “Z” monogram within the pocket, recalling the concealed elegance prized by designers such as Ceil Chapman and Emilio Schuberth. The interior is not subordinate to the exterior but parallel in technical rigor, suggesting an artisanal standard that affirms the garment’s elevated pedigree. Anatomically sensitive shaping—particularly in the softly flared bell sleeves and curved underarm—suggests a furrier’s command of body-responsive tailoring. These features evoke Jean Claude Jitrois’ 1980s fur innovations and Romeo Gigli’s spatial romanticism, where form is neither excessive nor static, but dynamically composed to accentuate silhouette through compression and release. From a transatlantic vantage, the coat’s fur construction and chromatic orchestration intersect with the refined practices of midcentury Manhattan ateliers, most notably Rosendorf Evans. There, fur was architected rather than arranged—pile direction, tonal sequencing, and density modulation were tools to frame the body in visual language akin to silent opulence. This same philosophy permeates the directional hair alignment and tonal gradient of the coat, situating it alongside the sculptural fur fluency of Sylvie Schimmel, where fur functions as a body-oriented medium rather than a superficial embellishment. The coat’s sculptural intentionality is further reinforced through compositional echoes of Otto Lucas’ millinery discipline—here transposed from cranial forms to shoulder joints and sleeve heads. Fur is not simply tailored but spatially engineered, with weight distribution and anatomical shaping acting in tandem to produce a silhouette that is simultaneously regal and ergonomic. Within an Eastern European framework, this structural discipline finds kinship in Malina’s Slavic maximalism, where high-formality silhouettes are pragmatically constructed, and in Lena Hoschek’s retro-feminine lexicon, which privileges controlled fullness and calibrated nostalgia. The garment’s hem flare and hourglass shaping are not theatricalized but rendered with engineered memory—neither pastiche nor costume, but historically resonant form. Technically, the coat’s modulation of weight and volume—concentrated at the shoulder and dispersing through the hem—aligns with Rubin Singer’s couture philosophy, in which silhouette architecture is defined through material density and spatial containment. Its surface logic, disciplined and structurally articulate, parallels the work of Talbot Runhof and Alaia Aa0036s, whose approaches to material affluence emphasize construction over ornament. From a contemporary textural standpoint, the coat aligns with Magda Butrym’s emphasis on tactile silhouettes and Reem Acra’s commitment to surface tactility, yet it eschews spectacle in favor of quiet command. Similarly, the sculpted proportions and functional elegance echo Bonnie Cashin’s metropolitan pragmatism and Sadie Nemser’s coded femininity, where utility and status operate in dialectical balance. Positioned within a lineage that bridges European postwar fur traditions and Cold War economies of visible capital, the coat transcends fashion cycles to embody a transhistorical construct of sartorial authorship. Its fur is not a flourish but a spatial medium—engineered to articulate silhouette, encode value, and insulate both body and identity. In this sense, the garment’s symbolic gravitas is reinforced by historical context, where fur garments functioned as cultural artifacts of prestige, protection, and permanence. Within luxury resale and archival haute fourrure markets, its relevance is not purely aesthetic but embedded in its technical pedigree and artisanal integrity, situating it alongside the formal architectures of Norman Norell, Gene Shelly, and Edward Achour—designers who advanced elegance through disciplined subtraction. The garment’s presence resonates with the calibrated glamour of Georges Hobeika and the anatomical engineering of David Koma, where form is a function of foresight rather than flourish. Ultimately, this mink coat resists reductive classification as mere outerwear. It stands as a sculptural vessel—an embodied convergence of tactile intelligence, technical fluency, and encoded cultural weight. Its language is one of constructional eloquence, where every line, splice, and gradient constitutes a deliberate act of design intelligence—rendering the garment a monument not to excess, but to mastery.

I.V.
Origin: Germany

Vintage (no flaws)


Color: Dawn
Size: M
Fabric: Fur
Composition: Mink



Measurements (cm)
Chest: 50
Length: 110
Shoulder: 44
Sleeve: 55

SKU: 003085