Artwork

Manteau bleu ardoise à carreaux marron avec col marron et chapeau assorti

Marie-Louise Carven , 1967

Manteau bleu ardoise à carreaux marron avec col marron et chapeau assorti is a drawing by Marie-Louise Carven. It dates from 1967 and is held in the collection of the Palais Galliera - Musée de la Mode de la Ville de Paris. The garment is a mid‑1960s women's coat crafted in a slate‑blue hue with a subtle brown check pattern across the sleeves and front.

About this work

Overview

The piece is part of the Museum of Ethnography’s collection and exemplifies the refined tailoring associated with French couture of the period.

The garment is a mid‑1960s women's coat crafted in a slate‑blue hue with a subtle brown check pattern across the sleeves and front. It features a fur‑trimmed collar, large front buttons, and is complemented by a matching brown hat and a small handheld bag. The piece is part of the Museum of Ethnography’s collection and exemplifies the refined tailoring associated with French couture of the period.

Subject & Meaning

Designed for a petite silhouette, the coat balances structure and lightness, reflecting the designer’s emphasis on wearable elegance for smaller frames. The restrained colour palette and modest check detailing convey a sense of understated sophistication, while the coordinated hat completes a cohesive, ready‑to‑wear ensemble that bridges formal attire and everyday practicality.

Technique & Style

The construction relies on clean, geometric lines and a streamlined silhouette, with the check motif providing a subtle decorative element. Lightweight fabrics such as fine wool or blended textiles are likely used, allowing the coat to maintain shape without bulk. The fur‑lined collar adds a tactile contrast, and the large buttons serve both functional and visual purposes, reinforcing the garment’s crisp aesthetic.

History & Provenance

Created around 1967, the coat originates from the house of Marie‑Louise Carven, a Parisian designer who launched her couture label in 1945 after adopting the name Carmen de Tommaso. Carven was an early advocate of prêt‑à‑porter, offering accessible designs for petite women. The piece entered the Museum of Ethnography’s holdings as a representative example of mid‑century French fashion innovation.