70s, Looped Wool Mohair Tweed, Windowpane Check, High GSM

Looped tonal plaid in black, navy, and ochre gives the mohair-wool shell visual depth and thermal resilience.

The HS overcoat is an artifact of late 20th-century Central European tailoring—its technical execution, textile specificity, and structural discretion coalescing into a garment that exemplifies a bourgeois formalwear ideal rooted in restraint, durability, and upward social signaling. Likely produced in West Germany or Austria in the late 1970s, the coat bears the hallmarks of a mid-market European tailoring brand navigating the postwar democratization of luxury fibers. The label’s bilingual “REINE WOLLE MIT MOHAIR” composition tag and embroidered crown insignia convey aspirational internationalism, while its aesthetic trajectory aligns with contemporaries such as Eduard Dressler, Wiens, and Windsor—brands invested in material pedigree and formal continuity over avant-garde expression. Technically, the coat is a single-breasted, notch-lapel overcoat executed in a looped wool-mohair bouclé fabric, patterned in a muted tonal plaid. It reflects the late-70s shift toward broader silhouettes and structured comfort in menswear—prioritizing insulation, visual depth, and ease of movement. The cut favors a boxy drape with extended drop shoulders and a straight hem, eliminating waist suppression in favor of vertical grain alignment. This approach allows the overcheck plaid to remain uninterrupted across the front panels, while the two-piece sleeve, tailored with moderate pitch and eased crown, supports natural arm movement without compromising silhouette integrity. The shoulder line is minimally padded but reinforced with a sleeve head roll and likely canvas interfacing, stabilizing the upper garment weight and preventing structural collapse under the dense boucle. The construction methodology follows a mid-tier tailoring logic. A standard tailored assembly sequence is evident: front panel and facing union, collar insertion, sleeve assembly, full lining bagging, and hem finishing. The interior lining—a grey satin twill, likely acetate or viscose—is bagged and cleanly joined to the outer shell, with topstitched reinforcement at the lining-to-hem seam ensuring tension control without adding bulk. Hem finishing is executed with a machine-blind stitch, while internal seam edges are either serged or bias-bound prior to lining insertion. The presence of bias piping at critical seam junctures, such as the lining-armhole interface, suggests both an awareness of stress distribution and a sensitivity to friction reduction. Edge behavior across the garment reflects skilled handling of an inherently unstable fabric. Boucle, with its looped surface, requires aggressive control at seams, lapels, and collar folds to avoid distortion or stretching. Here, all outer edges are clean-turned, with no visible topstitching—a clear indication of internal stabilization via interfacing and precise underlayer drafting. The collar and lapel maintain a sharp angle and flat lay, defying the tendency of boucle to roll unpredictably. The front placket is cut on extension, reducing seam bulk and allowing for an uninterrupted lapel fold. Machine-made buttonholes are reinforced beneath the boucle-facing interface, compensating for the fabric’s low structural cohesion. The boucle fabric itself is a wool-mohair blend engineered for winter outerwear. Its surface presents a complex interplay of texture and tonal layering—black, navy, caramel, and muted ochre—structured into a low-contrast plaid overcheck that reads as both utilitarian and refined. Constructed on a plain-weave or modified hopsack base, the boucle yarns are high-crimp and irregular, producing a pebbled surface with fibrous loft. Mohair introduces tensile resilience, subtle luster, and enhanced bounce, elevating the garment’s performance in both thermal retention and visual clarity. With a GSM in the 500–600 range, the textile balances weight with pliability, resisting collapse while enabling easeful movement. This fabric structure suggests influence from several textile traditions. The use of tonal gridwork atop boucle echoes Glen plaid logic, but executed with greater visual restraint. The dense wool-mohair blend with low-luster sheen aligns closely with German-Austrian coating practices of the 1960s–80s, where textured fabrics conveyed bourgeois stability and season-specific protection. French bouclé coating traditions—such as those produced by Créations Les Gets or Boussac—find resonance here in the tactile richness and understated patterning. Italian contributions, particularly from Biella-region mills post-1970, are evident in the chromatic modulation and tight loop structure, characteristic of urban outerwear fabrics developed for Milanese tailoring houses. Textile provenance likely intersects with regional specialists in mohair-wool boucle production. Tessilbiella’s textured coatings, Tissage d’Avesnières’ wool-mohair blends, and Knoll/Schoeller’s high-crimp yarns all suggest plausible origins, while Marling & Evans’ heritage tweeds occasionally venture into similar tonal boucle domains. While the garment does not carry explicit mill markings, the yarn quality, weave structure, and visual logic position it squarely within this transnational fabric lineage—melding Germanic density with Italian chromaticity. Structurally, the coat consists of two front panels, two back panels joined at a center seam, and two-piece sleeves with eased caps. Darting is minimal; instead, shaping is achieved through the natural curvature of the side seams and gentle tapering at the underarm. The back neckline’s center seam aids in grain alignment and collar balance. Vertical fall and clean drape are prioritized over contoured fit, consistent with the era’s tailoring priorities. Welt pockets are slit-style, aligned precisely with the plaid pattern and reinforced internally to resist gaping. The overall garment exhibits a deep V-neckline with lapel overlap sufficient to prevent chest gaping when buttoned, ensuring weatherproofing without requiring excessive internal structuring. This construction strategy supports both functional longevity and visual restraint. Stitching is deeply embedded within the boucle, requiring careful needle penetration control to avoid snagging or tension imbalances. Despite the fabric’s inherent instability, no visible seam distortion or grain skew is present, suggesting rigorous pattern drafting and precise seam alignment. The collar and lapel show no puckering, and the sleeve-head maintains its form without roping or draglines. Conceptually, the coat operates as both urban armor and visual field. The boucle surface camouflages environmental detritus and lends visual complexity without ornamentation, appealing to a post-industrial sensibility that values subtlety over display. The psychological effect is one of composed authority—embodying the masculine ideal of texture over pattern, presence over flamboyance. The mohair inclusion offers a quiet luster that distinguishes the garment from heavier boiled wools, while retaining warmth and resilience across seasonal cycles. Aesthetically, the piece fuses modernist tailoring with material romanticism. The construction adheres to late Bauhaus principles—form follows function, clarity in proportion, elimination of excess—while the textile infuses that structural frame with visual softness and chromatic depth. This dialectic echoes trends in West German and Austrian menswear from the era, seen in brands like Bogner, Bleyle, and Windsor, where industrial tailoring techniques were applied to emotionally evocative fabrics. Historically, the overcoat sits at the inflection point between Cold War-era utilitarianism and the 1980s’ expansion of menswear silhouettes. Its cut is broader than 1960s minimalism but stops short of the voluminous drape of the 1990s, aligning it with a transitional period marked by increased internationalism in regional tailoring. The branding—“INTERNATIONAL FASHION”—reflects this ambition, as West German and Austrian brands sought to globalize through quality, material fidelity, and restrained design. In the current fashion landscape, the coat’s value lies in its material sensitivity, technical restraint, and archival potential. It aligns with contemporary interests in textured tailoring and slow fashion championed by brands such as Lemaire, De Bonne Facture, Our Legacy, and Dries Van Noten. Its wool-mohair boucle construction, understated overcheck, and clean structural logic make it an ideal reference point for designers reinterpreting heritage fabrics through modern tailoring frameworks. Within the resale and collector’s market, it satisfies demand for quiet luxury, textile complexity, and European manufacturing fluency—especially among consumers attuned to pre-digital craftsmanship and regional production ecosystems. In final evaluation, the HS overcoat is a materially sophisticated, structurally stable, and aesthetically coherent garment—precisely executed despite the inherent volatility of its textile base. Its performance in thermal retention, visual tactility, and long-term durability positions it as a benchmark in Central European winter tailoring. While lacking overt branding prestige, its construction quality and fabric fluency render it an invaluable specimen within the taxonomy of mid-to-late 20th century menswear, and a viable template for contemporary reinterpretation across luxury, archival, and slow fashion sectors.

Measurements (cm):
Chest: 54
Length: 104
Shoulder: 50
Sleeve: 62



Size Conversion (approximate)
US Men’s Size: L
EU Men’s Size: 50


SKU: 007002