A woman’s coat or jacket is rarely worn just to ward off the elements and keep warm, although these garments certainly do both of those things. More than a means of covering up, they are as important to an outfit’s overall fashion statement as the right dress, pair of shoes, or hat. A look back at the vintage coats and jackets of the 20th century reveals how these articles of clothing evolved to signal the styles of the women who wore them. At the beginning of the 1900s, some women’s coats extended all the way to the calf at the back but had open fronts to show off a matching vest as well as a coordinated dress, which was so long it dragged on the ground. Other coats were almost poncho-like, with enormous collars, equally large patch pockets, and puffy balloon sleeves. Today, these coats seem like period pieces compared to other knee-length, belted coats with fur collars, cuffs, and hems, which hinted at more modern looks. Jackets were often worn as the upper part of a suit. Shorter than coats, and adhering to the Edwardian habit of tight waists, such jackets were usually paired with a matching skirt that was cut loose so women could participate in everything from sports to the Tango. By the 1920s, outer garments ranged from three-quarter-length Russian-style coats, with buttons running in a vertical row below the left shoulder and high Cossack collars, to colorful tailored jackets that stopped at the knees. Fur at the collar and hem remained popular, but so were Art Nouveau and Art Deco prints on silk. Meanwhile, velour and other luscious fabrics were made even richer with embroidery and costume-jewelry clasps. Coco Chanel was just one of many designers who came into their own in this decade—other big names included Jean Patou, Jeanne Lanvin, and Paul Poiret. These designers, and many more, made clothing—including coats and jackets—that was almost androgynous, borrowing heavily from the styles of 1920s menswear. This trend toward masculinity continued until World War II. Many jackets got shorter, resembling tuxedos, while others drew from gaucho and toreador styles. Shoulder pads took off thanks to their dramatic use in the movies. Meanwhile, in Paris, Elsa Schiaparelli and others produced coats and jackets that were almost architectural in their structure and cut. During the war, shortages of materials caused designers to economize—in England, the style was formally known as Utility. Double-breasted jackets used more fabric than single-breasted ones so short riding jackets and similarly frugal styles won out. Jackets in the early 1940s also mirrored the precise cuts of uniforms, plaid or vertical stripes amplified the military sense of order, and tough fabrics like wool and twill largely replaced satin and silk. Numerous looks for coats were born during the war years. Though many were designed for male soldiers and seamen, women’s coat-and-jacket designers appropriated these styles freely. There was the peacoat, a stiff, woolen garment that was particularly good at beating back chilly ocean winds. Women also claimed World War I-era trench coat styles during the 1940s and ’50s. But some styles took longer to catch on—the bomber jacket, which evolved into the motorcycle jacket, wouldn’t gain popularity among women until the 1960s and ’70s. The big news of the 1940s for fashion, though, was Dior’s New Look, launched in 1947. Like a lot of designers, Dior had wearied of all that wartime austerity. He wanted something fresh and elegant, and his aesthetic translated well to coats and jackets. The military influence could still be seen, but flaring hems and tight waists that flattered and hugged the figure feminized his New Look. Materials like linen suited the change that was in the air, but so did big prints and loud colors. In the 1950s, a billowy purple coat would not have been out of the ordinary, but a tight-fitting Mandarin-style jacket in vibrant blue might also be embraced. Suits in velveteen, twill, and man made materials such as Dacron were smart and conservative, a counterpoint to coats and jackets lined or trimmed with everything from real mink to faux leopard. Such was the 1950s, a decade when opposites routinely attracted. By the 1960s, all bets were off. Yves Saint Laurent designed pink tweed suits with short double-breasted jackets—Sears sold Seersucker suits with jackets of the same basic cut. Also in the ’60s were denim jackets by Levi’s and Wrangler, designed ostensibly for blue-collar males. Much to the chagrin of their owners, fashion-forward wives and girlfriends frequently borrowed these jackets from their partners, sometimes permanently. One of the most influential designers of the decade was André Courrèges, who not only invented the classic 1960s go-go-boot but also brought the fitted leather bomber jackets of World War II into the swinging sixties. The Courrèges jacket was made of patent leather, usually in a pastel such as pink, had plastic snaps, and sported a collar that looked even better turned up than folded over. Chanel and Dior produced similar versions of the waist-length jacket—First Lady Jacqueline Kennedy made Chanel’s internationally famous. Cardin excelled at short jackets, too, but also floor-length maxi coats, which were trimmed in geometric designs from the waist to the collar and at the cuffs and hem—for shock value, these long coats were often paired with a mini-skirt. Another women’s jacket icon of the 1960s was the double-breasted blazer. And for coats, especially for women in Manchester, England, bone-clasp duffels were the outwear of choice, probably because they made those long waits in line to get into one of the city’s legendary Northern Soul dance clubs just a little bit warmer.