Cloak, Coat, and Jacket Terms

The cloak, one of the simplest garments to make, is also one of the earliest fashions.  The cloak has been used in many different cultures for different purposes. It has been used at night as a blanket by Scots against dampness and cold and also by Arabs against dust and sand and chilly dessert nights. A cloak is a full-length garment.

Cloaks were originally made either from a circle or semi-circle of  material, and eventually evolved into a more tailored design to fit the shoulders better.    A rectangle or gored piece of fabric can also be gathered into a collar, which then becomes a very “dramatic” piece of outerwear.

Cloaks have been and are very utilitarian, and for that reason have remained popular throughout the centuries for their ease in covering   the many fashion styles of many cultures.

Cloaks and capes gradually went out of style by 1915, being replaced by the coat.  Capes then became mostly associated with nurses and servicewomen.  

 The word cape originally was the name of the “collar” for the shoulder or hip-length extension that was attached to the neckline of a cloak, which provided a second shorter layer of material over top the cloak.

In the 1950s, the Paris designers brought the cape back with simplified lines, which hung no longer than a couple inches above the elbow.  Tweeds, checks, and mohair were popular fabrics of choice.  Mink and other furs were popular for capes in the 1960s.

A pelerine could be either a collar or a separate small cape-like shoulder covering, which was mainly used when neckline styles were very wide during the Romantic period.  Although it was used to cover bare necklines, its shape also helped to accentuate the extreme shoulder width of the dress style of the day.

A fichu-pelerine had long tapering ends that crossed at the waist,  which helped accentuate the wide shoulders and made the waist appear comparatively tiny.

In the early 1860s, fur trim on cloaks and capes became popular both for fashion and warmth.  Only the affluent could afford cloaks which were made totally from animal fur, preferably seal.  Clipped velvet and velveteen were the most fashionable materials.

Coats became very popular between 1900 and 1910 and were considered the “modern” outerwear.  The oriental cocoon-style sleeve was very fashionable and the looseness of dolman-like sleeves provided the same ease and function of the cape – that of covering many different dress styles.

The 1970s poncho reprised the cape style later in the 20^th century with many variations from crocheted to the very utilitarian western-style poncho.  The crocheted granny shawls were also a variation.

The 2004 fall fashion line revived the poncho cape yet again.

The tippet was popular throughout the 1800s as a fashion accessory.  A tippet was a very long boa made from the down of a swan or fur and was wrapped around the neck like a scarf. 

In 2004, the tippet has reappeared as a fashionable and functional neck accessory, which is usually made from a fluffy, feathery-like yarn.

● A reproduction 1700s man’s hunter’s frock coat with deer antler buttons and hand woven wool belt.  Fringes were used on hem edges to catch burrs and briars, as they walked through the wilderness, to prevent fraying the hemmed edges of the garments. Courtesy of Cynthia Lawrence-Fink.

● A reproduction 1800s cloak with pointed and tasseled hood. Courtesy of Cynthia Lawrence-Fink.

● C. 1898 black wool cape with “dog collar” neckline.  Details include the ruched chiffon ruffle edging on the collar and appliquéd braid over the bodice and back yoke areas.  The scalloped edge was created by adding triangular shaped pieces in the circular cape.  Line quilting added design details. The combination of several design details of varying textures created garment “interest,” which was very important in the late Victorian period.  Courtesy of Bonnie A. Shockey

● The rectangular, champagne-colored silk shawl with long fringe on the piano is c. 1925. Courtesy of James H. Craig Jr.

● C. 1885 child’s rabbit fur muff with French ivory (celluloid) wrist ring. Courtesy of James H. Craig Jr.

● C. 1885 child’s leather gloves with handmade, early brass plated snap.  Courtesy Bonnie A. Shockey

● Mid 1800s child’s bonnet of blue velvet with silk lining. Courtesy of Cynthia Lawrence Fink

● Rare, mid 1880s child’s brown clipped velvet cape with both a drawstring and a celluloid closure with a very unique handmade snap closure. Courtesy of Allison-Antrim Museum

● Mid 1800s lady’s beaver hat with pink silk lining.  Courtesy of Cynthia Lawrence Fink

● Mid 1800s brown clipped velvet cape with jet beading, wool braid, monkey fur trim, and celluloid closures.  Courtesy of Cynthia Lawrence Fink

● Two mid to late 1800s miser’s bags with steel and glass beads. Notice that the “brown” beads are actually rusted steel beads. Courtesy of Bonnie A. Shockey.

● The Walter Washington Smith painting on the north wall depicts the winter outerwear of women and men during the 1940s while they were shopping during the holidays on Market Street, Philadelphia, Pennsylvania.

● Please notice the figured brown silk cape-pelerine and dress on the settee.  Courtesy of Allison-Antrim Museum

● C. 1870 – 1880 Ermine tippet with decorative closure and matching muff with silk lining, which has shattered. Courtesy of Allison-Antrim Museum – a gift from Cynthia Lawrence-Fink.

● What’s old is new again.  The fall 2004 tippet – the fashionable boa scarf is courtesy of Jodi Plum.

● 1900 – 1906 Wool gabardine walking coat and skirt with c. 1910 black seal muff.  Coat, bodice, and skirt courtesy of Bonnie A. Shockey.  Muff and high-top shoes courtesy of James H. Craig Jr.

● Black wool hat with feather trim is courtesy of Carla Wright.

● C. 1900 steel mesh purses and c. 1910 red crocheted purse.  Courtesy of James H. Craig Jr.

● C. 1915 photograph toward the back is of Nora Belle Hess Fitz, maternal grandmother of Bonnie A. Shockey.

● The photograph toward the front is of Nellie Snively Omwake, Shady Grove.  Note the beaded bag hanging from her left arm.

● C. 1910 black crocheted bonnet with ribbon trim belonged to Nellie Snively Omwake of Shady Grove.  Courtesy of Allison-Antrim Museum

● Very unusual 1900 – 1920 clipped black velvet over scarf with pockets to keep ones hands warm.  Courtesy of Allison-Antrim Museum

● C. 1875 black wool gabardine cape with ribbon ruching, faux bow, and large hook and eye closure.  Courtesy of Bonnie A. Shockey 

● C. 1930 child’s black sheep collar and muff. Courtesy of Alesia Permansu

● C. 1910 beaded bag.  Courtesy of Bonnie A. Shockey

● Black seal Russian-style man’s hat with ear flaps.  Courtesy of Allison-Antrim Museum

● Man’s black beaver top hat was the wedding hat of Chalmers Omwake who married Nellie Snivley. Courtesy of Allison-Antrim Museum.  Monogrammed man’s 1920s scarf belonged to Wilbur R. Craig uncle of and courtesy of James H. Craig Jr.

● C. 1915 black velvet cocoon-style coat.  Courtesy of Marnie and Mo’s Antiques and Gifts.  The 1922 – 1925 black velvet cloche hat with feather adornments is courtesy of Bonnie A. Shockey.

The cloche hat is strongly associated with the 1920s but it was   actually in fashion from 1908 to 1933, with varying crown shapes and   brim widths or no brims determining the exact time period.

● C. 1930 blue wool, cocoon style coat with Art Deco design features.  The Art Deco design carries around the waist to the back and is also repeated on the edge of the hood.  A short, shoulder to waist capelet is added to the back for addition protection from the weather.  Courtesy of James H. Craig Jr.

● At the back right corner of the table is a 1930s brown wool coat with seal fur collar and trim around the hemline.  A close row of covered buttons with large button loops, tie belt, and Art Deco embroidery add design details. Courtesy of James H. Craig Jr.

● In front of the table is a large 1920s silk scarf with orchid-colored embroidery and lots of fringe. Courtesy of James H. Craig Jr.

● Two Egyptian hand-hammered assutti shawls – one is champagne colored and the other is black and gold.  Each tiny piece of metal was painstakingly hand-hammered on the netting.  Each shawl is quite heavy.  Courtesy of James H. Craig Jr.

● C. 1920 beaded purse.  Courtesy of James H. Craig Jr.

● 1930s – 1940s kid leather gloves with the original box, which were bought at Sibley, Lindsay & Curr, Rochester, NY.  The department store was founded in 1868 and was locally owned for almost a century until the business was sold to Associated Dry Goods Corporation in 1957.  Courtesy of Bonnie A. Shockey

● 20^th century long-haired black fur stole and muff (unidentified specie)  Courtesy of Allison-Antrim Museum

● C. 1940 five-pelt mink scarf with celluloid and snap closure, purchased from Zlotnick the Furrier, Washington, D.C.  The mouth of the last mink opens to grasp the mink on the opposite end, which provides another closure option.  Courtesy of Hermione H. Brewer.

● 1920 – 1930 black velvet cloak with high rolled collar.  The two large circular closures hook together.  Each has an identical etching of a rickshaw with a passenger.  Oriental designs were influential in the 1920s into the 1930s.  Courtesy of Allison-Antrim Museum

● The 1950’s du Pont Lucite and Rohm & Haas Co.’s Plexiglas handbags were a big fashion statement. 

Celluloid was discovered in 1872 and was used to imitate ivory and tortoise shell.  Belgian chemist Leo Baekeland discovered Bakelite in    1905, which was very popular and used for, among other things, dresser mirrors, combs, brushes, containers, etc.  When Baekeland’s patents expired in 1927, the plastics industry changed everyday life forever, including in the fashion industry.  Imitation ivory, tortoise shell, and horn accessories finally made the expensive, fashionable natural items affordable for the average woman.

The modern plastics could be molded and tinted to the desired shape   and color for the fresh, new handbag designs.  At the end of the 1940s and beginning of the 1950s quality products were made by the fashion     industry in New York and Miami.  But as with everything new, there is always someone out there who makes a cheaper “knockoff.”  At the end of the 1950s when the marketplace became saturated with the cheaper handbags, the Lucite handbag went out of style.

● The Lucite handbags are courtesy of Cyndi Carbaugh.

● The c. 1950 mink jacket was made to order in New York City for and is courtesy of Hermione H. Brewer.

● C. 1950 alligator handbag is courtesy of Bonnie A. Shockey.

● A red faux 2004 Elizabeth Arden alligator handbag.  Courtesy of Bonnie A. Shockey

● 1929 felted wool nurses cape with wool lining.  This nurse’s cape belonged to Col. Lorraine Pensinger Phillips, formerly of Greencastle who graduated from Jefferson Hospital, Philadelphia, Pa.  Courtesy of Allison-Antrim Museum

Compiled by Bonnie A. Shockey
January 2005 

Resources:

www.fashion-era.com

Dooner, Kate E., Plastic Handbags Sculpture to Wear, Schiffer Publishing, Ltd., 1992

The title of the exhibit was inspired by F. Loesser’s lyrics and music, “Baby It’s Cold Outside.”

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