Calvin Klein Jeans Iconic Cult Retro Oversize WollE Mantel Jacke

SIZE : IT / EU WOMENS : SMALL / 36 ( OVERSIZE )

OUR NORMAL STORE PRICE : 530 EURO

Warming wool classic

Mantel ? Yes, please! This coat is made of wool and is the perfect way to round off any outfit."Standstill is death." The jacket specialist recognized this early on and transferred his soft spot for jackets with history to the coat.

German :

Wärmender Wollklassiker

Mantel ? Ja bitte! Dieser Mantel besteht aus wolle und ist der perfekte Weg, um jedes Outfit abzurunden.

"Stillstand ist der Tod." Das hat der Jacken-Spezialist früh erkannt und sein Faible für Jacken mit Geschichte auf den Mantel übertragen.

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Brand Information Calvin Klein :

Calvin Klein is still an enigma. Yes, we’re aware of his underwear and his fragrance, but how he got to that point is still something of a mystery. Klein has re-entered the public sphere lately, giving a series of interviews about the brand he sold to Phillips-Van Heusen Corp in December 2002.

Klein graduated from the High School of Industrial Arts and in the fall of 1960, started at the Fashion Institute of Technology (FIT). His first full job in fashion was in 1961, when he took on a copyboy role in the art department at WWD. In January 1963, he graduated from FIT with a Fine Arts degree. His first job after graduating was working for a company that specialized in making dresses out of a fabric called “whipped cream.” Dissatisfied, after three months Klein asked for a hundred-dollar raise and when his boss declined, he quit.

He soon took on a role at coat manufacturer Dan Millstein, working as a sketcher. Of the role, Klein said “I learned a lot, because he threw me into the snake pit.” Millstein took Klein to the Paris haute couture shows, using Klein to copy the clothes they saw at the shows.

Despite the perks of attending Paris Fashion Week, Millstein was known as a volatile and difficult boss and Klein soon made plans to leave. He was soon recommended for a role at at Halldon Ltd, a manufacturer which specialized in fake-fur outerwear. It was this work that got him his first mention in the press, being included in Tobe Report in April 1967.

Calvin Klein the Brand

As the fashion press and industry debate RS’s departure from Calvin Klein and where this most American of brands will head next, there often appears to be a central aspect missing from the debate—the work and worldview of Calvin Klein the designer. The hiring of Simons and the collections he designed for the house almost seemed a disavowal of its heritage—that of a brand built on a modern simplicity that expressly evolved to suit people’s real lives. With little time for fantasy and clothes as spectacle, Calvin Klein spent his whole career (up until the sale of his company in 2002) refining a message of simplicity, sparseness and sensuality that was wholly American and wholly new.

He was described by the Chicago Tribune as “a classicist at heart and his collection is reminiscent of the peak years of American sportswear.” Classic styles populated his collections (wrap coats, lean trousers, shirt dresses, pleated skirts, capes, blazers, satin shirts, sweaters in his favorite fabrics of camel hair, wool melton, gray flannels, suede, and velvet) alongside playfully pragmatic pieces like cotton poplin Bermuda shorts and bare swimsuits. What was most striking about his designs was how he took the easy, casual silhouette of sportswear and imbued it with the elegance of couture. Much of this ease was achieved through removing linings, bonding, and interfacing to create a much softer, natural drape to all of the pieces. Their sinuous femininity—with often plunging necklines–marked them as modern, liberated, cool. Grace Mirabella, then editor-in-chief of American Vogue, pronounced to Newsweek: “If you were around a hundred years from now and wanted a definitive picture of the American look in 1975, you’d study Calvin.”For Klein, he wanted to “offer as much style as we can, and the more exciting the better. It’s making clothes that are Classic and won’t be discarded in six months.” What was so visionary about him was his belief in separates as high fashion and in a seasonless, interchangeable wardrobe. Each collection was simply an evolution of the last, using many of the same and complementary fabrics—meaning that clients could purchase pieces that would perfectly match what they already had. His was a completely modern vision that took into account the way women really lived their lives, telling WWD in 1978: “As I see it, now we look to women who are accomplishing things, not rich women who wear clothes.” Unencumbered by ideas of tradition and propriety, Klein felt no need to kowtow to accepted fashion rules and instead brought in an easy flexibility to high fashion that is still felt in how we dress today.

With each season, Calvin became more and more confident—his vision clearer, his tailoring less structured and increasingly soft. Modern yet sexy clothes that were, according to WWD, “pure and wearable, yet never dull and safe...clothes that have all the right fashion looks—big, fluid, long–yet are never overpowering.” Looking through 1970s fashion magazines Klein’s designs leap off the page—they look as contemporary today as they did then, primarily due to a simplicity of line that few other designers came close to. While Halston was Klein’s closest peer in minimalism, Klein more comfortably designed across all aspects of a woman’s life—casualwear, loungewear, work clothes and evening pieces—at a broader price point. Perhaps this is why Klein more effortlessly expanded into diffusion lines and denim, while Halston’s attempt to make an affordable line for J.C. Penney in the 1980s, Halston III, was met with criticism, shocked customers and low sales. While other American designers (Geoffrey Beene, Bill Blass, etc.) started their own lower-priced Ready-to-Wear, more casual lines in the early 1970s, Calvin Klein had only one collection until the late 1970s when he licensed his denim to Puritan.

Klein’s first stockist was by luck. Donald O’Brien, then vice-president of Bonwit Teller, was on his way to a different appointment when he happened to see one of Klein’s coats hanging on his studio door and made an impromptu visit. O’Brien then invited Mildred Custin, who Klein called “the grand dame of the retail world.”

Custin made a sizable order and doors continued to open after this, especially after Bonwit Teller took out full page advertisements showing off Klein’s wares in The New York Times. Soon, Bergdorf Goodman and Saks would place orders, leaving Calvin Klein Ltd to gross a million dollars in its first year of business. As the company grew, Klein decided to move his offices into the building where his former employer Dan Millstein was based in an attempt to rub his old boss’s face in his newfound success.

This success led Klein to hold his first fashion show in April 1970. The show was modest, costing around $10,000 dollars to produce. The show was deemed a huge success, with WWD saying in their report that “In just 50 pieces, Calvin Klein joins SA’s [Seventh Avenue’s] Big Names as a designer to watch.” Klein was also seen as, in WWD’s words, “the fashion answer to this season’s rising prices.”

By 1971, Klein was a success story, with volume at $5 million. Later on, needing to expand even further, Klein took over his old boss’s Dan Millstein’s space as that company suffered. Millstein had intentionally quoted an overpriced figure to put off Klein, but Klein paid the amount and bought several objects in the office that were there back when Klein was an employee. He also took over Millstein’s actual office space.

In 1973, he won his first Coty American Fashion Critics award. Next year, he won the award for the second time in a row. By 1975, revenues were at $17 million and Klein had been voted into the Coty Hall of Fame. At 33, he was the youngest designer to achieve this. By 1976, Klein’s licensing deals alone made the company $6 million. The company hired Hermine Mariaux, a former director of VLT in America, to oversee the roster of licensees.

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