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The Weiss blazer on a mannequin, front on, the hand-drawn spiral print scattered loose across near-black cotton twill.
Close view of the hip pocket, two buttons sitting flush against the spiral print.
Close view of the sleeve where it meets the cuff, the spiral print running unbroken across the seam.
Close view of the cuff's three smaller buttons, set in the same near-black as the body.
Close view of the princess seam and faced V neckline, the double-breasted row of buttons just visible at the edge.
Back view of the jacket on the mannequin, the fully lined interior sitting flush beneath the print.
Front view of the jacket from a second angle, the deep V neckline open at the throat.
Close view of the interior neck label, reading Weiss, Australia.
Close view of the size label sewn into the lining, tagged a 10.
The fibre content tag held by hand, listing the cotton, linen and ramie blend.
Close view of a single button set into the spiral print, the construction of the seam visible beside it.
Macro detail of the print itself, every white shape its own small hand-drawn spiral.

Shorthand · Weiss 1980s Spiral-Print Double-Breasted Blazer

A$195.00



Cotton, linen and ramie · double-breasted with faced V neckline and flap hip pockets · Weiss · 1980s · length 59cm flat · tagged a vintage 10, nearer a modern AU 10-12 · exhibition condition

Look closely and the print stops being polka dots. Every white shape is its own small spiral, drawn by a hand that never lifted the pen, the kind of doodle worked out on a phone pad during a call that is running long. No two spirals turn quite the same number of times or sit quite the same width. Whoever set this print for Weiss let the drawing stay a drawing, scattered loose across near-black cotton twill rather than snapped into a grid.

Power dressing in the eighties was never really about power so much as armour, shoulders built out until a room had no choice but to notice who had entered it. This jacket belongs to that decade's particular alchemy: structure standing in for confidence, tailoring behaving like a kind of borrowed certainty. Weiss built her name on exactly this trick, and what survives here is the print doing something stranger than the silhouette, a hand-drawn spiral let loose across the cloth instead of snapped into the usual obedient grid. That small refusal, pattern behaving like a doodle instead of a print, is the particular magic of her at this moment, and it is why the jacket earns its place in the archive rather than a costume box.

The waist is seamed in close, princess lines running from bust to hip so the jacket nips before it releases. There is no separate collar, just the front edges themselves folding back into a soft, faced V that sits open at the throat. One button runs down each side in the double-breasted style. Flap pockets sit at the hip, and the cuffs each close with three smaller buttons in the same near-black. She is fully lined throughout.

Material

Cotton, linen, ramie

Care

Dry clean, or a cool hand wash given the structured facing through the front and collar.

More on looking after vintage pieces in our care guide.

Size

Measured flat: Tagged a vintage 10. Measured flat: length 59cm, bust 49cm, waist 41cm, hip 50cm, sleeve length 60cm, bicep 16cm, cuff 13cm, back length 55cm, neck drop 31cm. The structured shoulders and princess seaming read close to the body through the bust and waist, nearer a modern AU 10-12. International size S to M.

Our size guide explains how vintage sizing is read here.

Condition

Exhibition condition. No flaws to note: the print is bright and unfaded, the buttons are all present and firmly attached, and the lining shows no wear.

Our condition lexicon explains the grades we use.

Before it reaches you

Someone loved this before you did, and I try to honour that properly. Each piece is hand washed, or cleaned in the way that the fabric permits, then steamed until it softens and straightens and feels newly attended to. Wherever a button was missing, it has been replaced with a vintage one from my long-kept collection. Wherever a hem had given way, I fix it by hand. By the time it leaves this room it is genuinely clean, pressed, whole, and looked over one final time before I let myself believe it is ready. Not restored. Not made new. Just returned to a state where it can be loved again, by someone who was not there the first time.

She was clearly designed by someone doodling on hold, and she has never quite hung up. Wear her to a meeting and she keeps drawing loops under the table the whole time, bored of the agenda before anyone else in the room. She remembers every long-distance call of 1987, the cord wound round a finger, the appointment written on the back of an envelope. Do not expect her to stay still in photographs; she is always mid-doodle, one spiral short of finished. Somebody is still on hold somewhere, and she is still deciding whether to pick up.