Manteau balançoire Sundazed (Italie) vintage, overcheck, laine vierge tweed

SUNDAZED & OUTSIDE SOCIETY

...The Prussian-navy swing coat, executed in a dense virgin wool tweed softened by a yarn-dyed burgundy windowpane overcheck, emerges as a late-modernist articulation of architectural outerwear—where structure supersedes sentiment, and volume becomes an instrument of spatial command. The garment’s double-breasted closure, collarless upright neckline, and carefully graded A-line flare coalesce into a silhouette that neither flatters nor romanticizes, but rather defines space through textural gravity and geometric clarity. Here, motion is not embellishment but architecture; the flare does not dance, it declares. The check motif operates not as pattern but as scaffold, imposing a rhythmic order that reinforces the coat’s compositional severity without disrupting its chromatic austerity. Textile speaks first. The weighty, matte wool—likely a mid-to-heavy twill tweed—carries enough mass to shape silhouette while resisting theatrical drape, anchoring the coat in material certainty. This is not soft tailoring; this is sculptural containment. The dry hand and visual density echo the textile philosophies of Studio Nicholson, Margaret Howell, and Jil Sander—designers for whom cloth is infrastructure and volume a byproduct of engineering, not adornment. This materialist ethos extends to Daniela Gregis and Sofie D’Hoore, whose garments negotiate interior freedom through textile logic, translating tactile mass into spatial fluency. In parallel, Toogood and Phoebe English impose spatial discipline through surface restraint and silhouette purity—each aligning with the coat’s refusal to dilute form through decoration. Historically, the silhouette triangulates between Christian Dior’s postwar swing coat, Jean Muir’s radical tailoring clarity, and Sophie Sitbon’s precision-cut femininity—each offering a different approach to feminine volume that favors architectural tension over decorative softness. Yet the Franco Lappa coat resists nostalgia: its form is not homage but progression, reframing mid-century ideals through a lens of conceptual discipline. It holds space, not sentiment. Margiela Tabi and Chalayan reinforce this position through abstraction—treating historical reference as raw material to be deconstructed, reassigned, and rendered functionally spare. From Rome and Paris, Laura Biagiotti and Elie Saab embed the logic of couture into surface austerity, focusing not on embellishment but on proportion and silhouette flow. Rochas underscores this lineage through controlled luxury, balancing material volume with visual stillness. Stella McCartney and Maria Stanley infuse this sensibility with ecological and sensory awareness, where design integrity is measured not by ostentation but by fabrication honesty and environmental coherence. Cecilie Bahnsen and Loewe extend the garment’s sculptural dimension—Bahnsen through feminine lift and enclosure, Loewe through technical softness and silhouette modulation. Annette Görtz and Isabel Marant Étoile ground this otherwise abstracted lineage in tactile realism, deploying rural-urban hybridity and surface discipline to translate textile density into cosmopolitan functionality. Apuntob, Matthildur, and Casey Casey solidify the material-forward grammar: all privilege cloth behavior, washed textures, and garment weight as primary expressive tools—each resonant with the coat’s A-line tension and visual mass. Sundazed enters here as a conceptual peer: outerwear designed not for spectacle but for spatial responsibility, informed by post-functionalist elegance and cloth-first composition. Dries Van Noten reanimates this grammar through contemporary chromatics and volume distortion, mapping the coat’s internal rhythm onto a broader canvas of restructured historical forms. Meanwhile, Biba and Luisa Spagnoli contribute a legacy of cinematic elegance—gesture not through flourish, but through proportion, posture, and poise. Mina Perhonen’s poetic textile geometry affirms the overcheck not as visual device but as structural language—a subtle pattern that guides rather than decorates. Barbara Bologna, in contrast, inserts theatrical containment into formal outerwear, echoing the coat’s stark silhouette softened only by the inertia of movement.

Size: L
Fabric: Tweed
Composition: Pure Virgin Wool

Measurements (cm)
Chest: 49
Length: 90
Shoulder: 40
Sleeve: 63

SKU: 003506

€ 42.09