Les Gets (France) années 70, camp de Fourrures, peau d'agneau, artisanal

SUNDAZED & OUTSIDE SOCIETY

...Princess seams, double-breasted closure, and ergonomic two-piece sleeves create a sculptural hourglass contour—achieved solely through seam shaping.

The double-breasted leather trench coat, attributed to Créations Les Gets Paris and retailed through Fourrures Camp in Alès, represents a paradigmatic example of mid-20th century French outerwear that bridges regional craft and metropolitan design influence. The dual-labeling system reflects a common production model in postwar France, where Paris-based design houses collaborated with provincial ateliers to localize fabrication and distribution, especially in specialized sectors like fur and leather. These garments were not Haute Couture, yet they offered constructional sophistication and material integrity on par with bespoke standards—crafted for affluent clients seeking elegant, tactile, and climate-resilient outerwear grounded in both utility and refinement. The coat is engineered from full-grain, chrome-tanned leather—lambskin—finished in a semi-aniline treatment that preserves natural surface characteristics while offering a subtle pigment uniformity and moderate protection. Estimated at 1.2 mm in thickness, the hide balances structure and drape, critical for achieving the coat’s full-length flared silhouette without compromising mobility or garment swing. The leather exhibits gentle wrinkling, consistent pebble grain, and tonal burnishing at high-flex areas, indicating a hide selection process attentive to grain regularity and stretch behavior—a necessity in a multi-panel outerwear garment intended for long-term wear. Pattern engineering is both intricate and functionally responsive. The garment is cut on a panel-intensive block featuring full-length princess seams from shoulder to hem, reinforced by vertical side panels that enhance grain flexibility and anatomical shaping. The set-in two-piece sleeves are drafted with an ergonomically contoured outer seam for elbow articulation and terminate in tab-adjustable cuffs—self-fabric straps secured by leather-covered buttons, constructed with skived edges and stabilizing interfacing to prevent distortion. The collar features a wide notched lapel with a fully integrated stand, interfaced and pad-pressed for roll retention. The double-breasted front—cut with a 6-button, 3x2 configuration—anchors the garment’s verticality while echoing military dress tropes recontextualized within a tailored feminine framework. Seam architecture throughout is executed with high-order technical precision. All construction seams—particularly at the shoulder, princess line, and armhole—are assembled via edge-glued or abutted techniques, then hammered flat and topstitched using bonded nylon thread (Tex 70 or higher). Topstitching is consistent at 1/8” edge distance, with even spacing, minimal needle drag, and precise turn control at lapel notches and pocket flaps. The hem is skived internally and turned cleanly, maintaining swing flexibility without bulk accumulation. Internal stress zones—including shoulder seams, button plackets, and pocket anchors—are likely reinforced with cotton twill tape or fusible interlinings, though no external bartacks are visible. The buttonholes, although not captured in close detail, would be machine-punched and either bar-tack or grommet-reinforced to resist strain—particularly critical in thick hides under horizontal tension. The coat’s lining is a satin-weave polyester or acetate, chocolate brown in color, cleanly bagged and blind-stitched at the hem and neckline. This lining ensures low-friction wear, enhances breathability, and conceals internal glue and seam architecture. The lining insertion adheres to mid-century French tailoring standards, where bagging methods favored invisible seam transitions and restrained material shifts to preserve garment silhouette integrity. Structurally, the coat demonstrates full commitment to shaping through seaming rather than shortcuts like elasticized panels or fusible drape manipulation. The hourglass contour is achieved via graded panel tapering and strategic dart convergence, particularly at the waist and side body. No elastic or gather mechanisms are present—relying instead on the inherent moldability of the hide, shaped through controlled steam-forming and feed-regulated machine handling. The result is a cleanly anatomical garment with no extraneous fullness, no collapse at stress zones, and a consistent silhouette contour from shoulder to hem. The collar and lapel construction—especially the radius turn at the notch and the pad-pressed roll—demonstrates tailored discipline rarely found in contemporary leather outerwear. The sleeve-to-bodice transitions show no puckering or torque, confirming tension calibration and symmetrical armhole setting. The pocket flaps—angled and pointed—are topstitched and likely welted beneath, based on seam bulk and alignment, evidencing precise layering and structural memory across wear cycles. From a stylistic lineage perspective, the garment draws equally from military heritage and post-Dior bourgeois tailoring. The double-breasted construction, storm lapel scale, and trench-length coverage borrow heavily from WWI officer coats, while the fit-and-flare shaping and soft-grain leather reinterpret these symbols through a 1970s lens of cinematic femininity. The coat’s formal cues echo designs seen on Romy Schneider or Catherine Deneuve, with particular resonance in French cinematic wardrobes and Parisian editorials of the era. It shares design DNA with early Yves Saint Laurent Rive Gauche leathers, Gianfranco Ferré’s architectural outerwear, and Chapal’s high-finish trench cuts—blending military formalism with sensual tactility. Technically, this is a masterwork of leather tailoring. Its execution demonstrates not only skill but also material intelligence—balancing the hide’s natural behavior with the garment’s architectural demands. The combination of princess seam grading, panel integration, and double-breasted closure requires millimeter-level drafting and uncompromising hide handling. The topstitch alignment, edge consistency, and uniform grain behavior across panels suggest deliberate hide selection, likely from a tannery specializing in outerwear-grade lambskin, such as Tempeu or La Bretagna. The coat’s ability to age with elegance—developing patina at flex points without structural compromise—positions it as a long-term wardrobe asset rather than a seasonal commodity. In today’s market, this trench exists within the vanguard of archival outerwear. Its historical accuracy, textural integrity, and tailored clarity place it squarely within the reference vocabulary of designers such as Lemaire, Khaite, Courrèges, and Bottega Veneta—brands increasingly drawn to pre-digital silhouettes, slow material evolution, and tactile narrative. The coat is equally viable as a museum-caliber artifact, a pattern archive for reissue, or a premium resale centerpiece within curated vintage collections. Its conceptual duality—utility as aesthetic, containment as empowerment—resonates with fashion’s renewed interest in garments that signify autonomy through discipline rather than spectacle. Ultimately, this piece is not just an outerwear garment—it is an artifact of design fluency. It articulates a philosophy of clothing as structured second skin, merging body and silhouette through restraint, engineering, and material literacy. Its continued relevance is not rooted in nostalgia but in the enduring power of precision: a lesson in how construction, proportion, and feel can coalesce into a singular, inimitable garment.

The full-length women’s lambskin trench coat, produced in 1970s France under the dual imprint of Créations Les Gets and Fourrures Camp, constitutes a masterclass in the convergence of French regional leathercraft, postwar tailoring traditions, and the mid-century codification of bourgeois-militaire silhouettes in European womenswear. Constructed in a double-breasted configuration with a sharply contoured lapel roll and a fully paneled body extending from shoulder to hem, the coat relies not on external cinching mechanisms but on internal shaping to achieve its anatomical taper—an assertion of leather not as ornamental surface but as a primary architectural medium. Here, lambskin assumes the role of spatial agent—capable of both contour and containment, tension and release—echoing Jitrois’s conceptual framework of leather as a second skin: material with memory, density, and sculptural intelligence. The garment’s martial inflections—the double-breasted stance, the clean, knife-edged lapel, the symmetry of the upper structure—are neither theatrical nor rigid. They are methodically restrained, enabling a silhouette that communicates authority without aggression. This refinement of the military vernacular is shared by contemporary designers such as Peter Do and Rokh, both of whom reframe uniform tropes through a female-centric grammar of proportion, cut, and control. Within this lineage, the coat does not perform minimalism so much as it enacts discipline: a vertical composition uninterrupted by decorative noise, its severity tempered by the tactile softness of the lambskin, whose pliant texture delivers a kind of material emotionality—neither cold nor ornamental, but psychologically weighted. This structural approach mirrors the leather philosophies of Jacquemus and Nanushka, where fabrication is not symbolic of rebellion or rawness, but a medium for sensual pragmatism and psychological resonance. The coat’s silhouette—assertive yet restrained—situates it within a lineage of outerwear defined by clarity and authority rather than ostentation. The spatial gravitas aligns with the heritage logic of Max Mara and Giuliva Heritage, whose tailored outerwear renders presence as civic architecture—public, resolved, and quietly commanding. The precision of the lapel, simultaneously wide and sharp, evokes Azzedine Alaïa’s 1980s coats, wherein the female body was neither exposed nor armored but delineated with surgical exactitude. The same conceptual tension—contour as containment rather than display—is central to the design philosophies of Roland Mouret and Daniel Lee’s tenure at Bottega Veneta, where architectural outerwear emerged as ecclesiastical in restraint and sensual in discipline. Technically, the trench reveals couture-grade craftsmanship. The absence of overt topstitching maintains the lambskin’s surface integrity; a system of internal darting beneath the bust introduces curvature without distorting the vertical flow; and sculpted set-in sleeves offer mobility without volumetric compromise. These operations recall the constructional philosophies of Iris van Herpen—not in their visual futurism, but in their unwavering commitment to structure as a garment’s organizing principle. Even at full length, the coat avoids theatrical excess, echoing the pragmatic sensuality of Bonnie Cashin, whose outerwear redefined utility by prioritizing bodily autonomy over decorative encumbrance. Its silhouette occupies a space beyond bourgeois and bohemian, conjuring the classical symmetry and spatial clarity seen in Gianfranco Ferré’s sculptural tailoring. Within a contemporary context, the coat’s tonal restraint and material silence place it in formal dialogue with outerwear from Loewe and Rodarte, both of whom favor structural expression over decorative emphasis. Its design language—eschewing gloss, hardware, or visual clutter—reflects the compositional economy of Narciso Rodriguez and Giuliva, where sensuality is not theatrical but precisely engineered. As a garment, it speaks to a specific moment in French postwar fashion history when the trench was reconstituted—not as masculine inheritance, but as a newly autonomous mode of feminine sartorial authorship. No longer a direct quotation of military dress, it became a civilian structure of projection and control, a container for elegance that rested not on softness but on the authority of cut, density, and drape. This psychological utility—where garments assert presence without reliance on spectacle—is central to the work of Emanuel Ungaro, Stella McCartney, and Hussein Chalayan. Each designer constructs volumes not merely to clothe the body, but to speak from it—to externalize interiority through form. This trench, too, functions as a vessel of presence: measured, calibrated, and exacting in its language. It refuses both nostalgia and irony. Its power lies in structural authorship and material clarity, not in stylistic quotation. Like the enduring clarity of Ines de la Fressange’s design ethos, this coat renders French classicism contemporary through disciplined continuation rather than radical reinvention. It is a post-nostalgic artifact—memory-bound without mimicry, precise without rigidity. Its tailoring philosophy underscores that in true leather construction, permanence—not novelty—dictates relevance. Far from being a static historical relic, the Créations Les Gets x Fourrures Camp trench operates as a durational garment: an enduring proposition in silhouette engineering, composed not for spectacle but for sustained relevance. The double-breasted closure, concealed fastening logic, and uninterrupted paneling are all decisions rooted in spatial logic, not stylistic affectation. In this way, its design principles converge with the outerwear philosophies of The Row and Gabriela Hearst, where form is not styled but composed, and garments are not adorned but built. These are silhouettes that carry gravity, not simply weight—compositions that stabilize presence rather than amplify it. The coat’s handling of volume, its soft containment and assertive stillness, finds direct resonance in the work of Christophe Lemaire and Y’s by Yohji Yamamoto, both of whom treat form not as decoration but as an instrument of spatial clarity. The trench’s leather is not expressive by ornamentation, but by its ability to hold memory, drape, and spatial direction simultaneously—a silent architecture with expressive depth. The garment’s visual silence—its muted buttons, concealed closure system, and tonal chromaticity—evokes the compositional clarity of BITE Studios and Bevza, where restraint is not minimalism but reduction as articulation. The sculpting at the bust, the taper at the waist, the cupping of the shoulders—all are executed with sensual restraint, not corseted emphasis. This echoes the emotional formalism practiced by Rejina Pyo and Plan C, whose outerwear elevates intimacy through precision, and quietude through structure. Its hemline, long and trailing without ostentation, mirrors the spatial ease championed by JW Anderson and Anna October, whose silhouettes unfold around the body rather than command it. Movement, in this garment, is structured—not surrendered—and elegance is carried in the calibration of drape, not in the theater of gesture. The lambskin’s tonal depth and natural patination suggest a material ethic of care, consistent with the tactile transparency found in the practices of Medea and Béhen, where materiality is allowed to index time rather than obscure it. In this philosophy, leather becomes an archive—not of trend cycles, but of sustained use and enduring presence. The coat does not simply evoke the past; it sustains it. Like the finest work from The Row or Gabriela Hearst, it constructs continuity not through retrospection, but through precision. Its authority derives not from novelty, but from its fidelity to proportion, material, and function. As a garment, it is sovereign within the field of functional couture: memory-imbued, exactingly composed, and eternally contemporary.

Measurements (cm):
Chest: 45
Length: 100
Shoulder: 39
Sleeve: 56



Size Conversion (approximate)
US Women’s Size: S
EU Women’s Size: 36


SKU: 006082

€ 94.59