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A frock coat is a formal men's coat characterised by a knee-length skirt cut all around the base just above the knee, popular during the Victorian and Edwardian periods (1830s–1910s). It is a fitted, long-sleeved coat with a centre vent at the back and some features unusual in post-Victorian dress.
The gold kaftan [3] [5] is generally worn after marriage; before marriage, either a black bekishe or weekday-style clothing is worn on days when a bekishe is usually worn. Some of those who wear the gold bekishe switch to black on Shabbos afternoon before Mincha; this is seen in, for example, Dushinsky and with many of the Prushim.
It had six metal buttons at the front, and two decorative buttons at the back. The body of the coat was lined with black silk, and skirts with white silk. It was worn with breeches, black silk hose, white bow tie, white gloves, and court shoes (pumps) with steel buckles. The front of the coat was cut away squarely like a standard dress coat. [1]
The Paletot coat, a coat shaped with side-bodies, as a slightly less formal alternative to the frock overcoat. The Paddock coat, with even less shaping. The Chesterfield coat, a long overcoat with very little waist suppression; being the equivalent of the "sack suit" for clothes, it came to be the most important overcoat of the next half-century.
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For outerwear, the black cape (cappa nigra), also known as a choir cape (cappa choralis), is most traditional. It is a long black woolen cloak fastened with a clasp at the neck and often has a hood. Cardinals and bishops may also wear a black plush hat or, less formally, a biretta. In practice, the cassock and especially the ferraiolone have ...