The first outfit of "Murder & the Maiden" (Season 3, Episode 2) is a luxurious red velvet coat over a silver camisole and matching pants, complete with a shaped straw hat accented by feathers.
Known as the Coral Dreamcoat, Phryne's coat is made of a silk shot coral velvet with silver silk lining. Closer examination reveals godets (triangular inserts of fabric to add movement and width) of the velvet lined with silver piping on each side, along with a front tie and upturned sleeves with beaded decorations hanging from the ends of each.
"[The coat] has a front tie, which gives it lots of movement. Gareth Blaha, who's really quite sensational with finishing pieces, made these beautiful dangles off all the sleeves and the front tie." - Marion Boyce, Costume Exhibition Catalogue
Serving as a backdrop for her coral coat is a scoop-neck camisole with a wide hem, and flared trousers are made of a matching grey faille. Topping it all off is an authentic 1920s straw beret, adorned with a few thin maroon swirling feathers on top of a coral and maroon ostrich feather pouf and decorated with two gold buttons.
Phryne also brings along her grey woven handbag with a golden clasp that has been seen previously in 2x01 and 2x02, and ties in with the silver in her coat lining and her camisole and pants. She finishes the look with grey suede heels, white leather gloves, and glass bugle bead earrings.
Season 3, Episode 2 - "Murder & the Maiden"
Screencaps from here, promotional photos from various sources (x, x, x, x, x, x), costume exhibition photo from Dayna's Blog.
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Carlègle (aka Charles Émile Egli) or C.H. Roussel, Elegant lady with hat in profile (Dame élégante avec chapeau de profil), Illustration for the book Les Linottes, written by Georges Courteline, 1912.
Les Linottes: In the preface, the author describes the impetus which gave life to this novel - singular in his work - and where he returns to the childhood memories which permeate the entire book: "Of all the books that I have written , there is none who gave me more joy and sweetness in writing it than the one whose pages follow and whose each sentence, each line, each syllable is a reminder of the distant hours which were the beginnings of my life. It was in Montmartre that I lived these hours, as it seems that Montmartre and I were made for each other, from 1865 which saw me, my behind exposed to passers-by, busy patting pâtés of sand from the flat of my white wooden shovel, to 1871, a time when family life gave way for me to college life and the turbulent wandering of the street to the provincial sadnesses which were to rain down on me from 1871 to 1878, from top of Meaux Cathedral, with the hours, their halves and their quarters. » (x)
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A fashion shot starring millinery, from the Conde Nast Building, 1949.
Photo: Norman Parkinson via Sotheby's
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John French, Tania Mallet in a Madame Paulette stiffened net picture hat, published in The Evening News and Star. 1963.
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This is quoted as "Mrs. Gertrude Shilling giraffe hat # 2, 1971", her son was a milliner- and it looks like they both had fun with that fact :)
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